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If "1776" is to be believed, the United States was founded by a bunch of nebbishes, and the Declaration of Independence was written only after Thomas Jefferson rid himself of writer's block by making love to his wife.

When I was a kid I read a series of books called the "Childhood of Famous Americans." They all had one slight structural problem: Everything that made their subjects interesting happened after their childhoods were over. So the series gave us lot of motivation.

The same series seems to have inspired "1776." Its singular historical insight is that all of those famous Americans never grew up. They just put on wigs and grew sideburns and continued to act in the same childish ways.

This is an insult to the real men who were Adams, Jefferson, Franklin and the rest -- but then we've emasculated our founding fathers in story and song for so long that they're practically a set of caricatures. By the time "1776" came along, the stage was set for a dumb, simplistic romp through Independence Hall. I guess we don't want to fully recognize the stature of those early leaders; might make the present variety look a little transparent.

The movie, as everybody must know by now, involves the days immediately before the signing of the Declaration on July 4. The performances trapped inside these roles, as you might expect, are fairly dreadful. There are good actors in the movie (especially William Daniels as Adams and Donald Madden as James Dickinson), but they're forced to strut and posture so much that you wonder if they ever scratched or spit or anything.

Apart from that, there are structural problems. The stage version made much of a correspondence between John and Abigail Adams, in which she urged him onward and upward. In the movie, this is handled by a series of materializations in which Abigail, looking for all the world like the vampire countess of "Taste the Blood of Dracula," appears surrounded by soft focus and gives John the morning line.

I can hardly bear to remember the songs, much less discuss them. Perhaps I shouldn't. It is just too damn bad this movie didn't take advantage of its right to the pursuit of happiness.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

1776 (1972)

142 minutes

William Daniels as John Adams

Ken Howard as Thomas Jefferson

Howard da Silva as Ben Franklin

Donald Madden as James Dickinson

David Ford as John Hancock

Virginia Vestoff as Abigail Adams

Screenplay by

Peter Stone

Directed by

Peter H. Hunt

Produced by

Jack L. Warner

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1776 Reviews

What could be more soul-curdling than a Broadway folk operetta featuring the founding fathers, and double-entendres, and national tragedy? The movie version.

Full Review | Sep 28, 2023

Great screenplay based on the Broadway musical. Fantastic musical in an amazing 3-disc 4K/blu-ray set from Sony,

Full Review | Original Score: 3.5/4 | Jun 30, 2022

Da Silva is a standout amongst a talented cast which may be because he has some of the best lines of the whole film and he delivers them with incredible, comedic timing.

Full Review | Original Score: 4/5 | Jun 1, 2022

1776 is the rare musical to tackle American Independence with memorable tunes and does so in almost three hours.

Full Review | Original Score: 4/5 | May 31, 2022

It's just one of many sobering moments in a musical that effectively counters lighter moments with gravitas.

Full Review | Jun 28, 2018

With "1776," political struggles that took place nearly two-and-a-half centuries ago feel as fresh and immediate as the political struggles of today.

Full Review | Original Score: 4/4 | Aug 3, 2017

Every American should watch this once a year.

Full Review | Original Score: 5/5 | Aug 26, 2010

Full Review | Original Score: 2/5 | Feb 9, 2007

Semi-successful transfer to the big screen of the 1969 Broadway musical hit, nominated for the Best Cinematography Oscar.

Full Review | Original Score: C+ | Aug 10, 2005

A star-spangled, all-singing delight.

Full Review | Original Score: 5/5 | Feb 18, 2005

Full Review | Original Score: 2/5 | Feb 2, 2005

I can hardly bear to remember the songs, much less discuss them. Perhaps I shouldn't. It is just too damn bad this movie didn't take advantage of its right to the pursuit of happiness.

Full Review | Original Score: 2/4 | Oct 23, 2004

A wonderful, witty underrated musical. A 4th of July tradition in my house.

Full Review | Original Score: 4/5 | Jul 23, 2004

Full Review | Original Score: 5/5 | Jun 12, 2004

Long and boring musical about the American Revolution.

Full Review | Original Score: C- | Feb 9, 2004

Full Review | Original Score: 1/5 | Jul 30, 2002

A whole lotta toe-tappin' musical patriotism.

Full Review | Original Score: 4/5 | Jul 26, 2002

Americans have a propensity for getting chummy with heroic figures of the past -- a tendency on display in this lightly amusing history lesson.

Full Review | Jul 4, 2002

Full Review | Original Score: 9/10 | Jan 1, 2000

Photos & Videos

Film Details

Articles & Reviews

Brief Synopsis

Cast & crew, peter h. hunt, william daniels, howard da silva, donald madden, john cullum, photos & videos, technical specs.

In Philadelphia, on 8 May 1776, Massachusetts delegate John Adams urges the Continental Congress to debate whether officially to secede from England. Although many congressmen support the "independency" issue, all are offended by Adams' frequent tirades and implore him to sit down. Instead, the frustrated Adams leaves the building, but regains his composure by thinking about his wife Abigail, who remains in Massachusetts to manage their farm. In a letter, Adams writes Abby that the king is sending twelve thousand mercenaries to subdue the colonists and asks her to coordinate the neighboring women to make saltpeter to use in the manufacture of gun powder. In her reply, Abby refuses unless Adams agrees to send her sewing pins, which are scarce in wartime. On another day, Adams complains about Congress' indecisiveness to Ben Franklin, who is one of three delegates from Pennsylvania. Franklin suggests that Adams let someone more popular lead the cause and convinces Richard Henry Lee, a Virginian delegate from an old, influential family, to solicit the support of the Virginia House of Burgesses. Meanwhile, Congress, headed by its president, John Hancock, receives by courier from Gen. George Washington of the Continental Army, frequent, depressing missives, reporting shortages, ill-trained soldiers and the intention of British troops to split the colonies in half at New York. When Lee returns, he presents Virginia's resolution for independence, but John Dickinson of Pennsylvania, leading the opposition, makes a counter proposal to postpone the issue indefinitely. As Charles Thomson, the secretary of Congress, calls the roll, six colonies vote in favor of postponement and six against, with one abstention. When Stephen Hopkins, one of three delegates from Rhode Island, returns from a brief trip to the privy down the street, he casts the deciding vote to continue the debate. A discussion then commences, in which Dickinson defends England, but other delegates complain about repressions, high taxes and abolished rights and Franklin suggests that America has spawned a new race requiring a new nation. Highly charged emotions temporarily erupt into a brawl, but Hancock restores order. Edward "Ned" Rutledge of South Carolina claims that the South wishes to be ruled neither by England nor the North. Judge James Wilson of Pennsylvania, a toady to Dickinson, timidly suggests that more time is needed. Even Samuel Chase of Maryland, who supports independence, believes the decision must wait until Washington's military success is assured, to prevent them being hanged as traitors. Adams argues that an army needs inspiration, such as a flag and a purpose, and claims that Americans have "spirit." To this, Dickinson jeers and calls Adams a "madman," and the two come to blows, creating havoc. A gunshot fired into the air by a delegate quiets the room and cancer-ridden Caesar Rodney, one third of the Delaware delegation, decries that England is cutting off their air. Rodney then faints and, when revived, realizes he is too ill to remain. Apologizing for leaving Delaware split on this important issue, Rodney departs, aided by Scotsman Thomas McKean, another Delaware delegate. Taking advantage of their absence, Rutledge proposes to end the debate and take the vote. Realizing the cause is lost without Delaware, Franklin stalls for time and is rewarded by the arrival of New Jersey delegates, who support independence. Dickinson proposes that the decision to secede must be unanimous, so that no colony is forced to fight England against its will. On the issue of unanimity, the colonists are again split, but the tie is broken by Hancock who explains that, without agreement, Americans will fight each other in military battles. Knowing that a unanimous vote is impossible, Adams and Franklin ask for postponement until they prepare a written document and, to everyone's surprise, the usually taciturn Virginian, young Thomas Jefferson, eloquently argues that a document is needed to explain to the world the reason for their action. During the vote, the colonies are again undecided, but Hancock breaks the tie in favor of postponement. A committee is formed by Adams, Franklin, New Yorker Robert Livingston, Connecticut's Roger Sherman and, against his will, Jefferson, who has been away from home for six months. When deciding who will write the document, all make excuses, leaving Jefferson with the responsibility, although he protests that he "burns" to see his wife. Jefferson then spends the next week unsuccessfully trying to write. Realizing that Jefferson's "problem" must be solved before the bigger task is achieved, Adams sends for Jefferson's wife Martha and, when she arrives, the couple retreats from the world to sate their passions. While waiting, Adams conjures Abigail in his mind and imagines talking with her at their farm. The next morning, Franklin and Adams introduce themselves to Martha, who coyly praises the way her husband plays the violin. Meanwhile, Congress carries out mundane duties and McKean returns, predicting that Rodney will never leave home again. To no avail, Adams, Franklin and McKean try to win others to their side. When another dispatch from Washington reports disorder, confusion and an assembly of prostitutes at the New Brunswick army training ground, Adams convinces Chase and Franklin to accompany him to check out the situation. After Congress adjourns that day, custodian Andrew McNair and his assistant visit with the courier, who tells them about his horrific battle experiences. Near the end of June, Thomson reads Jefferson's draft, as Jefferson paces outside the room. Upon returning, Franklin and Adams report that the soldiers are excellent marksmen who work well together if motivated, and that Chase is persuading the Maryland assembly to approve independence. As they wait for the reading to finish, Jefferson, Franklin and Adams discuss whether a dove, a turkey or an eagle should symbolize the new nation. For several days, delegates make amendments to the document, with Jefferson's approval and to Adams' annoyance. When Sherman questions the need to criticize the English Parliament, Adams cries out that they are having a revolution and must offend somebody. On 30 June, Dickinson tries to remove a reference to King George being a tyrant, but this change Jefferson refuses to make. By 1 July, after everyone seems satisfied, Rutledge contests a passage referring to the abolition of slavery. Angrily, Rutledge accuses Northerners of hypocrisy, pointing out that New England ships carried slaves from Africa to the South and, with the other Southerners, abandons the meeting. Just then, Chase returns, announcing that Maryland approves independence. Although his pro-independence colleagues remain demoralized, Adams asks McKean to fetch Rodney from Delaware. After other delegates leave for the evening, Franklin, though against slavery, tells Adams that the offending passage must be forfeited. After an exchange of heated words, Adams climbs to the building's bell tower and imagines Abby's words of support. Unexpectedly, a shipment arrives containing several barrels of saltpeter made by Massachusetts women. With new confidence, Adams asks Jefferson to talk to Rutledge and sends Franklin to persuade Wilson. Then, Thomson shows him a message from a discouraged Washington, who asks, "Does anybody care?" Depressed, Adams remains in the assembly room late into the night, wondering whether he is alone in envisioning America's great future. At Adams' moment of despair, Dr. Lymon Hall of North Carolina reveals that he, too, is in the room. Able to see what Adams sees, Hall has decided to change his vote. On 2 July, after McKean returns with Rodney, Congress commences the vote, knowing that a single "nay" will defeat the issue. Eight colonies vote in favor of the resolution, but Rutledge demands that the slavery passage be removed. Adams wants to object, but Franklin says that nothing else will matter unless independence is secured. Without commenting, Jefferson strikes out the passage, and the Southerners vote favorably. Last is Pennsylvania. Because Franklin is in favor and Dickinson, against, Wilson now realizes that his vote will determine the course of history. After telling Dickinson that he does not want that responsibility, Wilson votes in alignment with the others, and thus the resolution is adopted. Hancock signs the document, but Dickinson, apologizing, abstains. Instead, Dickinson announces he will fight in the Continental Army, but hope for reconciliation with England. On 3 July, Washington is in New York, preparing for battle. On 4 July, Hancock orders McNair to ring the bell, as each delegate signs the Declaration of Independence.

Ron Holgate

Ray middleton, william hansen, blythe danner, virginia vestoff, ralston hill, howard caine, patrick hines, william duell, daniel keyes, stephen nathan, jonathan moore, james noble, john myhers, rex robbins, charles rule, peter forster, frederic downs, richard mcmurray, gordon de vol, william h. bassett, william engle, barry o'hara, heber jentzsch, jack de mave, jordan rhodes, richard o'shea, fred slyter, john holland, mark montgomery, ernest adler, carmen dirigo, sherman edwards, emmett emerson, ray heindorf, george james hopkins, peter howard, mentor huebner, george jenkins, al overton jr., arthur r. piantadosi, john rothwell, eddie sauter, marshall schlom, sheldon schrager, mickey sherrard, michael shurtleff, allan snyder, peter stone, harry stradling jr., jack l. warner, florence williamson, william ziegler, patricia zipprodt.

Hosted Intro

Award Nominations

Best cinematography.

She is your wife, isn't she? - John Adams

Of course she is, look at the way they fit. - Dr. Benjamin Franklin

Mr. Jefferson, Mr. Lee, Mr. Hopkins, Dr. Franklin, why have you joined this... incendiary little man, this BOSTON radical? This demagogue, this MADMAN? - John Dickinson

Are you calling me a madman, you, you... you FRIBBLE! - John Adams

Easy John. - Dr. Benjamin Franklin

You cool, considerate men. You hang to the rear on every issue so that if we should go under, you'll still remain afloat! - John Adams

Are you calling me a coward? - John Dickinson

I never asked for much, after all, I am Mrs. John Adams. hat's quite enough for one lifetime. - Abigail

Is it? - John Adams

Well think John, to be married to the man who is always first in line to be hanged. - Abigail

A second flood, a simple famine, plagues of locusts everywhere, or a cataclysmic earthquake, I'd accept with some despair. But no, You sent us Congress! Good God, Sir, was that fair? - John Adams

Calling me an Englishman is like calling an ox a bull: he's grateful for the honor, but he'd rather have restored what's rightfully his. - Dr. Benjamin Franklin

When did you first notice they were missing, sir? - John Dickinson

The 176 minute extended version is available on laserdisc. It contains 35 minutes cut from the original videotape release, including the song, "Cool, Considerate Men".

Gwyneth Paltrow, the real life daughter of Blythe Danner (Martha Jefferson) played Patsy Jefferson in the movie: Jefferson in Paris (1995).

William Daniels, who plays John Adams, also played John Quincy Adams (John Adams' son) in the mini series The Adams Chronicles, Samuel Adams (John Adams' cousin) in the TV movie the Bastard and John Adams again in the TV movie the Rebels.

Many of the actors were also in the Broadway production.

Ron Holgate did all of his own riding - except for the trick mount at the end - in "The Lees of Old Virginia", despite his never having been on a horse before.

The viewed copy was a restored DVD version, released in 2002, which, according to a Los Angeles Times article at the time of the DVD release, reinstated twenty-five minutes that had been cut from the original release. Within the story, the passage of time is conveyed by the "custodian" tearing each day's page from a large calendar hanging on the wall in the assembly room. A tally board on the wall listing the names of the colonies is used to clarify each colony's vote on the various issues depicted in the story, by sliding the name of the colony either to the left or right to indicate an affirmative or negative vote. In the assembly hall, whenever Gen. George Washington's reports are read aloud to the Congressman, the reading ends with a drum roll in the soundtrack. Peter Stone, the play's author, as well as the film's screenwriter, was the son of former history teacher-turned-writer and producer John Stone of Fox Studios. Songwriter Sherman Edwards, a former high school history teacher, was credited with conceiving the play as well as writing the music and lyrics. Edwards and Stone researched events prior to the signing of the Declaration of Independence and endeavored to maintain historical accuracy. However, some liberties were taken, such as the timing of the signing of the document, which actually occurred over several months rather than on one day. John Adams, Benjamin Franklin, Robert R. Livingston, Roger Sherman and Thomas Jefferson formed the Committee of Five to draft the document Jefferson wrote, which was also depicted in the film. Personal details in the film and play, such as "Benjamin Franklin's" napping and gout, were true. According to modern historical sources, Jefferson did wish to return home to see his wife, but, according to modern sources, she May have been ill at the time. Although the real Caesar Rodney suffered a form of skin cancer and made a last-minute ride from Delaware to Philadelphia, an event depicted on the 1999 Delaware commemorative quarter, he became mortally ill several years later than the period depicted in the film. Judge James Wilson changed his vote, as shown in the film, although his reason for doing so is not known. As shown in the film, the real John Dickinson did not sign the declaration and he did fight in the Continental Army, as he promises in his last speech in the film, and later helped to write the Constitution of the United States. Much of the film's dialogue was taken from the writings of the historical figures. For example, the running joke describing "John Adams" as "obnoxious and disliked" were words the real Adams reported to his wife Abigail in his letters. Jefferson's defense for a written document declaring independence, several of Franklins' aphorisms and Adams' comment to Franklin that it would be wrong to remove the anti-slavery passage from the Declaration were lifted from actual writings. The quibble between Adams and Jefferson about the words "inalienable" vs. "unalienable" was also based on fact. Stone's musical play opened in New York on March 16, 1969, and ran for 1,217 performances. The play won several awards, among them, the Tony Award and New York Critics Circle Awards for Best Musical and a Grammy nomination for Best Cast Album. Peter Hunt, who made his directorial debut with the Broadway production, won a Tony Award for Best Director. To some contemporary observers, the success of the play, which had a patriotic theme, came as a surprise, as it opened when the country was divided over the Vietnam War. The London production, which Hunt also staged, was named "Best Play of the Year" by British critics. According to an April 1969 Hollywood Reporter news item, four unnamed, major film companies showed interest in obtaining the film rights for 1776 , for which bidding would begin in May. In November 1970, a Hollywood Reporter news item reported that Jack L. Warner purchased the rights for the play, which was still running on Broadway and had two touring companies, for $1.25 million plus percentages. A March 1971 Daily Variety article reported that Warner, the long time president of Warner Bros. who had retired from the studio, bought the film with his own money. A March 1971 LAHExam news item reported that Warner and Columbia Pictures were teaming up to produce the picture and planning to cast mostly actors from the Broadway production and the national company. Actors who reprised their roles for the film included William Daniels, Howard Da Silva, Ken Howard, Roy Poole, David Ford, Ron Holgate, Emory Bass, Ralston Hill, Charles Rule, William Duell, Jonathan Moore and Virginia Vestoff. Noted stage actor John Collum, who portrays "Edward Rutledge," had been a cast replacement on Broadway in late 1969 and remained in the same stage role for two years. Rex Robbins, Patrick Hines, James Noble, Daniel Keyes, and Leo Leyden had also worked at various times either on Broadway or in touring productions of the show before reprising their roles in the film. New to the film were Blythe Danner as "Martha Jefferson," Donald Madden as "John Dickinson" and Stephen Nathan, who made his film debut as the "courier" and later became a writer and producer. Hunt, Stone, choreographer Onna White and costume designer Patricia Zipprodt, who had served on the stage production, also worked on the film. As noted by New York magazine film critic Judith Crist, the film was a faithful adaptation of the play. However, filmmakers were able to open up outdoor scenes depicting the gardens and city streets of Philadelphia and Adams' Massachusetts farm. More detailed representation of Independence Hall's anteroom, staircase and bell tower are presented in the film. Instead of opening with Adams' speech before the curtain, as in the play, the film opens with Adams in the bell tower and climbing down several staircases to confront his colleagues in the assembly room. Sequences depicting the correspondence between Adams and "Abigail" that are presented in the songs, "Yours, Yours, Yours" and "Is Anybody There?," which were based on actual correspondence between the real-life couple and Adams' other writings, were set, according to the play's libretto, in "certain reaches of John Adams' mind." Within the film, a transition was devised to emulate the technique used onstage, wherein the couple is initially shown talking directly to each other, but in their respective locations, Adams in Philadelphia and Abigail in Massachusetts. However, as the songs progress, the couple is shown together in the same setting, but never touching each other. A major difference between the libretto and script was the removal of the song, "Cool, Considerate Men," which was filmed, according to a September 2001 Los Angeles Times article, but was removed by Warner, who was a friend and campaign supporter of then president Richard M. Nixon. According to the article, Nixon had seen the stage show at a special White House performance in 1970 and, concerned about its negative portrayal of political conservatives who served as antagonists in the story, urged Warner to remove it from the released film. According to the article, Warner wanted the removed footage shredded, because he "did not want history second-guessing" his action; however, editor Florence Williamson surreptitiously kept it intact and placed it in storage. A July 2002 Los Angeles Times article stated that, according to Hunt, Warner told one of his closest friends before he died that he regretted cutting the song. According to studio production notes, Independence Hall was built on a Columbia sound stage. The art director, Philadelphia native George Jenkins, used William Birch engravings and other research from the Independence Hall archives to reproduce the building faithfully as it stood in the year 1776. The following information is taken from Hunt and Stone's commentary on the 2002 DVD version: The Independence Hall staircase was built at Columbia's Gower Studios and these scenes were some of the last to be shot there before Columbia moved from Hollywood to Burbank. Columbia's Burbank ranch was the location where the cobble-stoned sets representing Chestnut, and intersecting Fifth and Sixth Streets, Independence Square, High Street market and Jefferson's apartment, all set in Philadelphia, were shot. The Adams farm was shot at the Disney ranch, and many items, such as Jefferson's actual writing desk, were replicated for the film. Although the large calendar was a facsimile of the calendar hanging in the assembly hall in the year 1776, the tally board, a device used to heighten suspense that was displayed prominently in the play and the film, was not in the original hall. Although the film was originally recorded on multi-track, Warner released the film in monoaural. (However, the DVD restoration combines the original stereo tracks with modern technology.) According to an October 1992 Los Angeles Times article, the film was shot in forty-four days on a $4,000,000 budget. Despite a generally lukewarm critical response of the film, the New York Times reviewer credited 1776 as the first that he could recall that "treated seriously a magnificent chapter in American history." According to the Los Angeles Times review, the film was shown at a benefit performance for University of Southern California on the night before the film opened in Los Angeles. Harry Stradling, Jr. was nominated for an Academy Award for Best Cinematography. The film was nominated for Golden Globe Best Motion Picture-Musical Comedy and the Daughters of the American Revolution named 1776 the most outstanding picture of the year. As noted in the October 1992 Los Angeles Times article, 1776 was restored for release on LaserDisk by Joseph Caporiccio. The article reported that among the forty minutes cut before the theatrical release of the film was the overture (which included removing all the opening credits except for the title, according to the DVD commentary) and three verses of the song, "Piddle, Twiddle and Resolve." According to Hunt and Stone in their DVD commentary, the title sequence that was restored for the DVD release was shown theatrically only at a Phoenix preview and cut prior to release. They added that, at its release, the only opening credit was the title "1776", which was possibly placed just as Adams runs down the steps from the bell tower. In the background of the restored title sequence is a panoramic sketch by artist Mentor Huebner that depicts a bustling Colonial street scene, incorporating caricatures of himself and Hunt among the crowd of people. 1776 marked the final film of Warner, although his film Dirty Little Billy (see entry above), which was produced early in 1971, was released around the same time. Warner died in 1978. In 1973, Hunt and Stone produced, and Hunt directed, the television series Adam's Rib , which reunited Howard and Danner in the starring roles and was based on the 1949 M-G-M film of the same name. According to Hollywood trade publications as of September 2006, producers Neil Meron and Craig Zadan were planning a 120-minute adaptation the play 1776 to be aired as part of The Wonderful World of Disney television series. A television mini-series titled 1776 was also in preproduction in 2006, to be produced by Tom Hanks and Gary Goetzman for HBO. That project, however, will focus on twelve months of George Washington's military campaign and is based on David McCulloughs' bestselling non-fiction book 1776 .

Miscellaneous Notes

Named the most outstanding picture of the year by the Daughters of the American Revolution.

Nominated for a Golden Globe for Best Motion Picture-Comedy.

Released in United States Fall November 1972

Based on the musical play "1776," produced on the New York stage by Stuart Ostrow (New York, March 16, 1969); music and lyrics by Sherman Edwards, book by Peter Stone, based on the conception of Sherman Edwards.

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1776 (1972) 4k review, da silva is a standout amongst a talented cast which may be because he has some of the best lines of the whole film and he delivers them with incredible, comedic timing..

Long before Lin-Manuel Miranda ( In the Heights ) turned the life of Alexander Hamilton into a multicultural, hip-hop/rap Broadway musical, there was another history lesson set to song. In 1972...yes FIFTY years ago... 1776 was released in theaters. A feature film adaptation of the 1969 musical, the two-and-a-half-hour movie received mixed reviews from critics but still managed to earn $1.7 million in six weeks.

In the home entertainment market, the film has been previously released on VHS tape, laserdisc, DVD, and Blu-ray but to celebrate the fiftieth anniversary, Sony Pictures has released a combo pack including the 2015 Blu-ray disc, a second Blu-ray disc which includes the 1972 theatrical cut and the highly sought after 1992 laserdisc "Director's Cut" and, for the first time, a 4K disc with two versions of the movie. In total, this release includes four, complete versions of 1776 plus some extras.

The year is 1776 and Massachusetts representative John Adams (William Daniels; Blind Date ) is trying to convince the Continental Congress to wage war on the British soldiers sent by the King of England to keep law and order and to collect taxes from the colonists. While some of the delegates from other states agree with his assessment, some, representing the citizens of their states, oppose the idea. As the heat of the summer days roll on, the delegates scheme, connive and fight - both verbally and physically - until they author the Declaration of Independence, essentially waging war on their motherland and the tyrant overseeing them.

The mostly male cast, led by Daniels, does a terrific job of shuffling through the uneven pacing of the film. Adams' two most prevalent sidekicks, Benjamin Franklin (Howard Da Silva; The Blue Dahlia ) and Thomas Jefferson (Ken Howard; Rambo ) keep him somewhat grounded while mildly egging him on. The three actors have a great bond and a few of their scenes are the most memorable in the movie. Da Silva is a standout amongst a talented cast maybe because he has some of the best lines of the whole film and he delivers them with incredible, comedic timing. Virginia Vestoff ( The Doctors ) and Blythe Danner ( Meet the Parents ) well represent the female perspective in Colonial times and both have wonderful singing voices.

The Dolby Vision video quality is well worth the cost of this combo pack. There is a huge difference between the clarity of the 4K version and the Blu-ray with sharp details and beautiful colors. The costumes are so intricate and made from such elegant materials and the 4K video detects each thread and stitch showcasing the brilliant work done by the costume department.

The Dolby Atmos audio is perhaps the best treat this new release has to offer. The musical numbers have depth and the blending of the talented vocalists is just one of the aspects featured by Atmos. The dialogue runs the full spectrum of surround sound speakers making the viewer feels as if they are in the midst of the history they have only learned about in school. One of the two Blu-ray Discs house the extras, which include: Audio Commentary: Director Peter H. Hunt and Actors William Daniels and Ken Howard (Director's Cut Only), Audio Commentary: Director Peter H. Hunt and Screenwriter Peter Stone (Director's Cut Only), Deleted & Alternate Scenes, Screen Tests, and Theatrical Trailers.

While 1776 isn't the best musical ever written and the songs are totally unmemorable, the cast and the screenplay offer some humorous moments, especially from Da Silva, and makes one wonder just how "raunchy" the colonists were back then, not to mention demonstrating how inappropriate actors/writers/directors could be in the early seventies.

With several versions of the movie and the enhanced video and audio quality, this is one combo pack that is well worth the money.

William Daniels ,
Howard Da Silva ,
Ken Howard ,
Donald Madden ,
Blythe Danner ,
John Cullum ,
Roy Poole ,
David Ford ,
Virginia Vestoff
Peter H. Hunt

For more information about 1776 visit the FlickDirect Movie Database . This release has been provided to FlickDirect for review purposes. For more reviews by Allison Rose please click here.

Allison Rose, a Senior Correspondent and Critic at FlickDirect, is a dynamic presence in the entertainment industry with a communications degree from Hofstra University. She brings her film expertise to KRMS News/Talk 97.5 FM and broadcast television, and is recognized as a Tomatometer-Approved Critic . Her role as an adept event moderator in various entertainment industry forums underscores her versatility. Her affiliations with SEFCA, the Florida Film Critics Circle, and the Online Film Critics Society highlight her as an influential figure in film criticism and media.

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Happy Fourth of July to all of our American readers (and a happy regular day to all our international readers)! Today happens to commemorate many important days in our country’s history, from the signing of the Declaration of Independence to the day the Union Army won the Battle of Gettysburg. While certainly the concepts of American national identity and liberty have faced much scrutiny in recent years, the holiday remains a wonderful chance to celebrate freedom with family over food and high explosives!

This year, I also wanted to celebrate the birth of my nation by bringing some extra attention to a particular film that I’ve fallen in love with of late!

Content Guide

Violence/Scary Images: None. Language/Crude Humor: Some heavy language throughout including D*** and G**. Drug/Alcohol References: Rhode Island’s representative is depicted as an alcoholic constantly asking for rum. Sexual Content: Nothing inappropriate depicted, although there are numerous references to sexuality and sexual frustration throughout the film. Spiritual Content: The majority of the characters are implicitly religious although religion isn’t a major plot point. Other Negative Content: Some crass content and discussion ill-suited for very young viewers. Positive Content: Themes of self-sacrifice, bravery, intelligence and wisdom.

1776 feels like a film from a completely different epoch than the one we live in now. Not only is it quieter, more simplistic, more patriotic, and more earnest than almost any film in the last fifty years, but it’s also a movie that feels like it shouldn’t have even been made in the decade it came out. In 1972, Hollywood was just entering the phase of the American New Wave, releasing films like The Godfather, Deliverance, Solaris, Aguirre: Wrath of God, and Fritz the Cat , pushing cinema in a much darker and more cynical direction. 1776 competed that year against the critically acclaimed, and VERY dark, musical Caberet which contrasted the decadence of the Weimar Republic with the rise of Nazism. This was at a time when bleak disaster films and vigilante flicks like The Poseidon Adventure, Joe Kidd , and The Mechanic were THE most popular entertainment. This movie was released in theaters while Watergate was being investigated by The Washington Post. It notably precedes the Reagan-esc optimism of films like Star Wars , Superman , and Rocky by half a decade.

Yet there 1776 stands as this oddball patriotic musical about the signing of the Declaration of Independence. It’s a film with the look and pace of an early 1960s big-budget musical that looked like it could sit alongside something corny like Yankee Doodle Dandee or South Pacific . Naturally, it was a box office bomb, barely making half its $6 million budget back upon release. It was also pretty heavily savaged by critics who called it “unremarkable” and even “an insult to the real men”, filled with “dreadful” performances, according to major critics like Roger Ebert and Vincent Canby.

Watching it for the first time last year, I was taken aback by how deeply this film was savaged by the culture around it. I’ve watched it at least three times now and every time I watch this film I find 1776 to be a movie that blossoms and grows more endearing. Admittedly, part of that has to do with the novelty. There aren’t very many films about the American Revolution out there besides Drums Along the Mohawk , HBO’s John Adams and The Patriot . Very few films have ever tried to directly depict the Founding Fathers as they were. One of the only examples I can think of in recent memory was Lin Manuel Miranda’s musical Hamilton (which itself is heavily based on 1776 and references it multiple times).

1776 itself is based on the Broadway musical of the same name that premiered in 1969 to riotous success, over 1200 performances, and three Tony Awards. Jack L. Warner, of Warner Brothers fame, bought the rights to the film adaptation and quickly set about adapting it for the big screen. I can’t speak for the qualities of the stage version of the show as I’ve neither seen the 1997 revival tour nor the upcoming 2021 Broadway revival. That said, I could definitely see it being a bit more laid back than the filmed version.

The film of 1776 can be rather breakneck and whimsical for a topic such as the revolutionary war. The film is set just on the eve of the Revolution in June of 1776. The Battles of Lexington and Concord in 1775 have put the two nations in a state of war with one another but the thirteen colonies had yet to technically form themselves into a legally distinct entity, even as George Washington was busy digging in his troops into New York City in preparation for a massive British siege.

The Continental Congress itself in Philadelphia is a mess. Dozens of irritated representatives spend their days arguing minutia and refusing to agree with one another over vitally important matters of state. John Adams, the representative from Massachusetts, spends his days aggressively trying to convince Congress to officially declare the United States’ independence from Britain but without an unanimous vote from every colony. And there are plenty of reasons why each colony would NOT want independence. The southern colonies are wary of northern hegemony and want to maintain their economic monopoly through slavery. Additionally, news from the front of war is very negative and it sounds likely that General Washington will lose the Battle of New York, resulting in anyone caught standing by him being publicly executed for treason against the crown.

The reputations, wealth, and lives of every member of the colonies are at stake and there’s no guarantee that standing up for principal will ultimately save the fledgling United States. Yet John Adams is determined to try and declare his new nation’s independence anyway on the off chance that it will be the spark that inspires the colonies.

Struggling to rally Congress and convince the most skeptical representatives among them, Adams convinces them to allow him an opportunity to write up a potential declaration that would serve as the ideological foundation for a new nation on which Congress ought to vote on. With limited time and emotions running high, Adams assigns the job of writing this document to Virginia’s young, enigmatic and quiet representative Thomas Jefferson while he and representative Benjamin Franklin conspire how to persuade the southern states to their side.

As a drama, I find 1776 to be enrapturing as it lets the yarn of each character and their VERY OBVIOUS faults unfurl before the audience. William Daniels as John Adams delivers an amazing lead performance, one that’s vital to serving as the emotional core of the story and doubles as an amazing antithesis for how the characters ultimately accomplish the task of achieving independence for their country. John Adams is, to put it delicately, an unpleasant and disagreeable person. Seemingly the only person who wants to be around him is his estranged wife, Abigail Adams, who desperately misses having a husband to return home to every night. As a result, the story ends up being a drama of alliances and double-crosses. Adams, being the most aggressively pro-revolution patriot in congress, can only achieve his desired outcome and return home to his wife if he learns to rely on others and place his trust in other people’s ability to stand up for what’s right.

So much of this sets up 1776 to be such a bleak and emotionally overwhelming film, but in reality it’s a tremendously whimsical and joyous movie. There’s a youthful exuberance to the film that captures the soul of a young nation early in its experiment. Benjamin Franklin captures it beautifully in my favorite quote of the film :

“Never was such a valuable possession so stupidly and so recklessly managed than this entire continent by the British crown. Our industries discouraged, our resources pillaged, worst of all our very character stifled. We’ve spawned a new race here… rougher, simpler, more violent, more enterprising, less refined. We’re a new nationality. We require a new nation.”

All of the characters we meet are young, energetic, snappy, educated and frustrated people in the prime of their youth. They’re thirsty to prove themselves as equally as they are eager to—to put it gently—spend their evenings at home with their wives (sexual frustration being a surprising, frequent and weird motif throughout 1776 ).

Most of the songs are bubbly and goofy, reflecting the young enthusiasm and pride of this fledgling generation. Representative Richard Lee prances into his first scene on a horse singing a song about the glorious Lee family and rhyming every word with Lee/-ly. Thomas Jefferson’s wife sings a song about how she fell in love with his violin skills. John Adams repeatedly gets into arguments with his wife during songs where he imagines seeing her.

When the film does get serious, there’s a fascinating and haunting weight to it. You see the fear and uncertainty in the characters’ eyes as they realize the fate of the Republic will fall onto their decision, there and then. When John Adams realizes that he has to sacrifice the abolition of slavery to achieve independence, you feel the sadness of the realization of what that decision will ultimately cost less than a century later. The film ends with the famous signing of the Declaration of Independence and even then ending is quite dark and uncertain, as these characters don’t know what the future holds past July 4th, 1776.

Historically speaking, of the 56 signers, nine died in combat, five were captured and tortured by the British, and at least a dozen had their homes destroyed. Many were financially ruined by the revolution or lost their beloved family members in combat. The ominous bleakness of the final shot of this movie isn’t uncalled for.

There’s incredible humanity on display in 1776 that captures something quintessentially fascinating about the Founding Fathers as they were on the eve of the American Revolution. Even setting aside the novelty of seeing John Adams, Thomas Jefferson and Benjamin Franklin on the big screen, I can’t help but admire just how much the film managed to capture in this relatively whimsical and colorful comedy. For all it romanticizes and likely downplays some of the less savory aspects of the founding father’s very well-documented hypocrisies, 1776 does the work to make these flawed people and their flawed actions relatable. We’re shown just how and why these men came to the conclusions they did, shown just how uniquely brilliant they were, and we are led to admire just how brave they had to be to sign their name on a document that would shortly get many of them killed.

I can’t help but feel a film like 1776 is overdue a cultural reexamination!

+ Wonderful musical soundtrack + Solid performances from the major actors + Great balance of whimsical fun and serious themes

- Some excessively corny performances and goofy characterizations - Occasionally stagey set design

The Bottom Line

1776 didn't get much love in 1972 but maybe there's a more welcoming audience in our cynical times now! It's a wonderful musical and whatever flaws you can place against it as a film, it's an intoxicatingly novel and fun piece of cinema that is well worth your holiday viewing, especially if you're already a fan of its spiritual successor, Hamilton.

Tyler Hummel

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A musical retelling of the American Revolution's political struggle in the Continental Congress to declare independence.
The film version of the Broadway musical comedy of the same name. In the days leading up to July 4, 1776, Continental Congressmen John Adams and Benjamin Franklin coerce Thomas Jefferson into writing the Declaration of Independence as a delaying tactic as they try to persuade the American colonies to support a resolution on independence. As George Washington sends depressing messages describing one military disaster after another, the businessmen, landowners and slave holders in Congress all stand in the way of the Declaration, and a single "nay" vote will forever end the question of independence. Large portions of spoken and sung dialog are taken directly from the letters and memoirs of the actual participants. — Dave Heston <[email protected]>
Despite or because of the state of the Revolutionary War led by General George Washington, the Second Continental Congress, meeting in Philadelphia, has long skirted the issue of independence from Great Britain, much to the chagrin of its chief proponents, Massachusetts Congressman John Adams and Pennsylvania Congressman Dr. Benjamin Franklin. Adams knows that much of the debate is against him as a person, many who see him as being obnoxious and a blow-hard. He decides a more judicious approach may be to work behind the scenes rather than be front and center in the fight as he has been. On June 7, 1776, Adams gets Virginia Congressman Richard Henry Lee to propose a motion in Congress to debate the issue, which finally passes. However when the vote for independence finally looks like it will pass, its chief opponent, Pennsylvania Congressman John Dickinson, manages to pass a motion that any vote for independence needs to be unanimous. As a delay tactic, Adams initiates a successful motion to postpone the vote for three weeks to July 2, 1776 until they can vote on the actual text for a declaration of independence - his assertion is how can they vote on something that does not exist. Adams and Franklin talk a reluctant Virginia Congressman Thomas Jefferson to be the one to draft the document. Jefferson's reluctance is that he has other more personal issues on his mind. As Jefferson takes to his writing duties, Adams and Franklin and their supporters know they only have three weeks to convince the six opposing colonies to support independence. As Franklin states, it may take some improvisation and some compromise. — Huggo
On the evening of May 8, 1776, in Philadelphia, as the Second Continental Congress proceeds with its business. John Adams, the widely disliked delegate from Massachusetts, is frustrated, because none of his proposals on independence have been debated on by congress. The other delegates, implore him to ('Sit Down, John') Adams' response is that Congress has done nothing for the last year. He goes outside and in song ('Piddle, Twiddle, and Resolve'), he reads the latest missive from his loving wife Abigail, who, their home in Braintree, Massachusetts, appears in his imagination. He asks if she and the other women are making saltpeter for the war effort but she ignores that and states the women have a more urgent problem: no straight pins. They pledge their love to each other in song ('Till Then'). The next day, Adams finds delegate Benjamin Franklin outside. Adams bemoans the failure of his arguments for independence. Franklin suggests that, a resolution for independence would have more success if proposed by someone else. Richard Henry Lee of Virginia enters on horseback, having been summoned by Franklin. The cocky Lee crows that he is the best man to propose the resolution. Adams has reservations, but Lee is convinced he cannot fail, as a member of the oldest and most glorious family in America ('The Lees of Old Virginia') He is prepared to ask the Virginia House of Burgesses to authorize him to offer a pro-independence resolution. On June 7, 1776, Franklin and Adams enter, and the delegates, along with the President of Congress, John Hancock, and the Secretary, Charles Thomson, take their places. Hancock gavels the 380th meeting of the Congress to order. The entire New Jersey delegation is absent. Thomas Jefferson, a young delegate from Virginia, announces that he is leaving for Virginia that night to visit his wife. Soon after Hancock opens the floor to new resolutions, Richard Henry Lee canters into the chamber, having finally returned from Virginia. Lee reads his resolution, but John Dickinson of Pennsylvania moves to indefinitely postpone the question of independence. A vote is taken. Six colonies vote in favor of debate. Five vote to postpone indefinitely and thus kill the proposal. The New Jersey delegate arrives, and the vote now stands at six for independence and six against (with New York abstaining "courteously"), and Adams reminds Hancock (who supports independence) of his privilege as president to break all ties. Dickinson then moves that any vote for independence must pass unanimously on the grounds that "no colony may be torn from its mother country without its own consent." The vote produces the same tie, which Hancock breaks by unexpectedly voting for unanimity (prompting an angry outburst from Adams). He reasons that without unanimity, any colony voting against independence would be forced to fight on England's side, setting brother against brother. Adams, thinking fast, calls for a postponement of the vote on independence, expressing the need for a declaration defining the reasons for independence. Franklin seconds Adams, but when asked why such a declaration should be written, both are lost for words until Thomas Jefferson provides them himself: "to place before mankind the common sense of the subject, in terms so plain and firm as to command their assent." The vote on postponement is called, producing yet another tie, with New York abstaining "courteously" yet again. Hancock breaks the tie by voting in favor of postponement. He appoints a committee of Adams, Franklin, Roger Sherman of Connecticut, Robert Livingston of New York, and Jefferson to draft the declaration. Hancock adjourns the session over Jefferson's complaints that he must go home to his wife. The Committee of Five argues about who should write the declaration ('But, Mr. Adams'). Adams declines Franklin's suggestion that he do so. Adams asks each of the others, in turn, to be the drafter, but each demurs: Franklin argues that he is not a political writer, only a satirist; Sherman claims that he is not a writer at all, but "a simple cobbler from Connecticut"; and Livingston must return to New York to celebrate the birth of his son. All eyes then turn to Jefferson. Jefferson tries to wriggle out of the responsibility, pleading that he has not seen his wife in six months. Adams, unmoved by Jefferson's arguments (as he, too, misses his own wife), quotes a passage of Jefferson's Declaration of the Causes and Necessity of Taking Up Arms, bluntly telling Jefferson that he is the best writer in Congress. Jefferson accepts the duty of drafting the document. A week later, Adams and Franklin visit Jefferson to see how the work is coming along. Jefferson has spent the week moping, prompting a sharp rebuke by Adams, which is flatly rebuffed by Jefferson. Finally, Jefferson is brightened when his beloved wife Martha enters (Adams has sent for her). The two older gentlemen leave the young lovers in peace. Adams, alone, again exchanges letters with his wife Abigail. They pledge each other to be eternally ('Yours, Yours, Yours'). Martha finally appears when Franklin and Adams return the next morning, and the two gentlemen ask her how a man as silent as Jefferson won a woman as lovely as she. She tells them that she loves him ('He Plays the Violin'). On June 22, 1776, Congress has reconvened. By now, Adams is worrying and begins trying to win over some of the states, sending Thomas McKean to try to convince his Delaware colleague George Read and Franklin to convince James Wilson of Pennsylvania, while himself trying to convince Samuel Chase of Maryland. The remaining delegates in favor of independence also leave the chamber. Alone with his fellow conservatives for the first time, Dickinson leads them in a minuet, singing of their desire to hold onto their wealth and remain ('Cool, Cool Considerate Men'). During their dance/song, another dispatch comes from George Washington warning them of British advances on Philadelphia; however these warnings fall on deaf ears. After the dance number, the remaining delegates depart, leaving Andrew McNair (the custodian), the courier, and a workman in the chamber. The workman asks the courier if he has seen any fighting and the courier replies that his two closest friends were killed on the same day at Lexington. He describes the final thoughts of a dying young man as his mother searches for his body ('Momma, Look Sharp'). Jefferson is outside the chamber as Mr. Thomson, the secretary, reads the declaration to Congress. Adams and Franklin meet him delightedly: an exhibition of shooting by the Continental Army has convinced Samuel Chase, and Maryland will vote in favor of independence. They congratulate Jefferson on the excellence of the document, and Franklin compares the creation of this new country to an egg ('The Egg'). This leads the trio to debate which bird is breaking out of its metaphorical shell and would best represent America. Franklin tries to coax them into choosing the turkey, but the three settle on the eagle, as insisted upon by Adams. On June 28, 1776, Hancock asks if there are any alterations to be offered to the Declaration of Independence, leading many delegates to voice suggestions. Jefferson acquiesces to each recommendation, much to Adams's consternation, until Dickinson demands the removal of a phrase calling the King a tyrant. Jefferson refuses, stating that "the King is a tyrant whether we say so or not. We might as well say so." When Thomson comments that he has already scratched the word out, Jefferson orders him to "scratch it back in." When one delegate wants references to Parliament removed for fear of offending possible friends in that body, an exasperated Adams exclaims "This is a revolution, damn it! We're going to have to offend somebody!" Edward Rutledge of South Carolina objects to a clause in the Declaration condemning the slave trade, accusing the northern colonies of hypocrisy and telling them that the prosperity of the North depends on the Triangle Trade ('Molasses to Rum') to slaves as well. When this clause is not removed, the delegates of the Carolinas and Georgia walk out of Congress. The resolve of the other delegates is broken, and most of them also leave. Franklin tells Adams that the slavery clause must go; when Adams quarrels with him, Franklin angrily reminds Adams that "the issue here is independence!" and berates Adams for jeopardizing the cause. Adams' faith in himself is shaken, and only encouragement from Abigail (and the delivery of kegs of saltpeter from her and other Massachusetts ladies) bolsters his commitment ('Compliments'). Re-reading the dispatch from Washington, Adams, now alone in the chamber, echoes his words in song ('Is Anybody There?') Discouraged but determined, Adams declares his vision of his new country: "Through all the gloom, through all the doom, I can see the rays of ravishing light and glory!" Dr. Lyman Hall of Georgia, unexpectedly returns to the chamber. He tells Adams "In trying to resolve my dilemma I remembered something I'd once read, 'that a representative owes the People not only his industry, but his judgment, and he betrays them if he sacrifices it to their opinion.' It was written by Edmund Burke, a member of the British Parliament." Hall then walks over to the tally board and changes Georgia's vote from "nay" to "yea". It is now July 2, 1776. The delegates slowly return to the chamber, including Caesar Rodney of Delaware, who had earlier left Congress due to poor health. Hancock calls for the vote on the Lee Resolution. Thomson calls on each delegation for its vote. Pennsylvania passes on the first call, but the rest of the northern and middle colonies (save New York, which, with some self-disgust, again abstains "courteously") vote "yea". When the vote reaches South Carolina, Rutledge again demands the removal of the slavery clause as the condition of the "yea" votes from the Carolinas. Franklin pleads with Adams to remove the clause ("First things first, John ... Independence. America. If we don't secure that, what difference will the rest make?") and Adams turns to Jefferson. Jefferson reluctantly crosses the chamber and scratches out the clause himself. Rutledge and the Carolinas vote "yea", as does Georgia. Pennsylvania's vote, which is the last vote needed to obtain the required unanimous approval, is called again, Dickinson declares that "Pennsylvania votes...", only to be stopped by Franklin who asks Hancock to poll the members of the delegation individually. Franklin votes "yea" and Dickinson "nay", leaving the swing vote to Wilson, who normally adheres to Dickinson. Seeing his hesitancy, Dickinson tries to entice him: "Come now, James ... the issue is clear." Franklin remarks that "most issues are clear when someone else has to decide them", and Adams mercilessly adds that "it would be a pity for a man (Wilson) who has handed down hundreds of wise decisions from the bench to be remembered for the one unwise decision he made in Congress." Wilson doesn't want to be remembered as "the man who prevented American independence" and votes "yea". The motion is passed. The next day on July 3, Hancock suggests that no man be allowed to sit in Congress without affixing his signature to the Declaration. Dickinson announces that he cannot in good conscience sign such a document and still hopes for reconciliation with England. However, he resolves to join the army to fight for and defend the new nation. Adams leads the Congress in a salute to Dickinson as he leaves the chamber. The next day, Hancock leads the delegates in signing the Declaration, but is interrupted by the courier with another dispatch from Washington, "Commander of the Army of the United Colonies ... of the United States of America." He reports that preparations for the Battle of New York are under way, but expresses concern about America's badly outnumbered and under-trained troops. Washington's note to Lewis Morris that his estates have been destroyed but that his family has been taken to safety emboldens Morris to state that he will sign the Declaration, despite the lack of instructions from the New York legislature, saying, "To Hell with New York. I'll sign it anyway." New York's vote is moved into the "yea" column. On the evening of July 4, 1776, McNair rings the Liberty Bell in the background as Thomson calls each of the delegates to sign their names on the Declaration of Independence. The delegates freeze in position as the Liberty Bell rings to a fevered pitch.

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Based on 6 kid reviews

I love 1776. It's my favorite musical. Great History lesson, funny, but still shows faults, showing that these people were humans too.

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Appropriate for all ages, entertaining only to some, a great american movie.

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39 facts about the movie 1776.

Written by Eleonora Palacio

Modified & Updated: 04 Mar 2024

Reviewed by Jessica Corbett

The movie “1776” is a captivating and historically significant film that takes viewers back to the pivotal events leading up to the signing of the Declaration of Independence. Released in 1972 and directed by Peter H. Hunt, this musical drama sheds light on the struggles, debates, and ultimate triumphs of the American Revolution. With a talented cast, memorable songs, and a compelling storyline, “1776” has become a beloved classic that continues to entertain and educate audiences. In this article, we will delve into 39 fascinating facts about the movie “1776,” uncovering behind-the-scenes details, notable performances, and the cultural impact it has had over the years.

Key Takeaways:

“1776” is a historical movie released in 1972, showcasing the events leading to the signing of the Declaration of Independence and the struggles faced by the Founding Fathers in reaching a consensus.
The film features musical numbers, a talented ensemble cast, and a balance of drama and humor, offering a unique perspective on the birth of American democracy and reigniting interest in American history.

The movie 1776 was released in 1972.

This historical drama film directed by Peter H. Hunt was released in 1972 and is based on the 1969 Broadway musical of the same name by Peter Stone.

It portrays the events around the signing of the Declaration of Independence.

The movie gives a fictionalized account of the events leading up to the signing of the Declaration of Independence in 1776.

The film was nominated for several Academy Awards.

1776 received nominations for Best Cinematography, Best Costume Design, and Best Sound at the 45th Academy Awards.

William Daniels played the role of John Adams.

William Daniels, known for his role as Mr. Feeny in the TV show Boy Meets World, portrayed the passionate and determined John Adams in 1776.

The movie includes musical numbers.

1776 features several musical numbers, including “Sit Down, John,” “The Lees of Old Virginia,” and “ Molasses to Rum.

The film showcases the tensions and debates among the Founding Fathers.

1776 delves into the debates and conflicts among the Founding Fathers as they work towards a consensus on declaring independence from Britain.

The screenplay for the film was adapted from the Broadway musical.

Peter Stone, who wrote the book for the Broadway musical, adapted it into the screenplay for the movie.

The movie was not a commercial success.

Despite its critical acclaim, 1776 did not achieve great commercial success at the box office.

The film highlights the struggles and sacrifices made by the American Revolutionaries.

1776 sheds light on the challenges faced by the American Revolutionaries, including their personal conflicts and the sacrifices they made for the birth of a new nation.

The costumes in the film were historically accurate.

The costume designers for 1776 ensured that the clothing worn by the characters accurately reflected the style and fashion of the period.

The movie was filmed in various locations in the United States.

Parts of 1776 were filmed in Virginia and California, capturing the essence of the Revolutionary War era.

The film’s budget was $4 million.

1776 had a budget of $4 million, a significant sum for a film released in the early 1970s.

The character of Benjamin Franklin is portrayed with humor and wit.

Benjamin Franklin, played by Howard Da Silva, brings humor and wit to the film with his iconic portrayal of the Founding Father.

The movie received mixed reviews from critics.

Critics had differing opinions about 1776, with some praising its historical accuracy and performances, while others criticized its pacing and transition from a stage production to a film.

The song “Cool, Cool Considerate Men” was not in the original Broadway musical.

The song “Cool, Cool Considerate Men” was written specifically for the film version of 1776 and was not included in the original Broadway production.

The film’s set design recreated historical locations.

The set designers meticulously recreated historical locations such as Independence Hall in Philadelphia, where the signing of the Declaration of Independence took place.

The running time of the film is 166 minutes.

1776 has a running time of 166 minutes, capturing the intricacies of the events leading up to the signing of the Declaration of Independence.

The movie explores themes of freedom and unity.

1776 delves into the themes of freedom and the unity necessary to form a new nation, highlighting the importance of compromise and collaboration.

The film’s soundtrack was released on vinyl and CD.

The soundtrack of 1776 was released on vinyl and later on CD, allowing audiences to enjoy the memorable musical numbers from the movie.

It received a re-release in 2002 to coincide with the July 4th holiday.

In 2002, 1776 was re-released in theaters to coincide with the July 4th holiday, giving new audiences the opportunity to experience this historical gem.

The movie showcases the challenges faced by the Founding Fathers in reaching a unanimous decision.

1776 portrays the dilemma faced by the Founding Fathers in convincing all thirteen colonies to vote in favor of declaring independence.

The film’s score was composed by Sherman Edwards.

Sherman Edwards, who also wrote the lyrics for the Broadway musical, composed the score for the film.

The movie highlights the iconic moments leading up to the signing of the Declaration of Independence.

1776 captures the iconic moments such as the reading of Jefferson’s draft of the Declaration and the intense debates among the delegates.

The film’s story focuses on the political maneuvering during the summer of 1776.

1776 centers around the political maneuvering and negotiations that took place during the crucial summer of 1776, leading to the eventual signing of the Declaration of Independence.

The movie addresses the issue of slavery.

1776 touches upon the sensitive topic of slavery and the Founding Fathers’ struggle to address it within the context of declaring independence.

The film’s release coincided with the United States’ bicentennial celebration.

1776 was released during the bicentennial celebration of the United States, adding to its significance and impact on audiences.

The movie’s dialogue reflects the writing style of the 18th century.

The dialogue in 1776 was written in a manner that reflects the formal and eloquent style of speech prevalent in the 18th century.

The film includes performances from a talented ensemble cast.

1776 boasts a talented ensemble cast, including actors like Ken Howard, Blythe Danner , and Donald Madden, who bring the characters to life with their remarkable performances.

The movie presents a balance between drama and humor.

1776 strikes a balance between dramatic moments and lighthearted humor, providing an engaging and entertaining viewing experience.

The film’s release helped renew interest in American history.

The release of 1776 helped reignite interest in American history, prompting audiences to delve deeper into the events and figures that shaped the nation.

The movie has gained a cult following over the years.

Despite its initial lackluster box office performance, 1776 has garnered a dedicated fanbase over the years who appreciate its historical significance and captivating storytelling.

The film’s title refers to the year the Declaration of Independence was signed.

The title of the movie, 1776, refers to the year that the Declaration of Independence was signed by the Founding Fathers.

The movie received a PG rating.

1776 was given a PG rating by the Motion Picture Association of America, making it suitable for audiences of various ages.

The film incorporates catchy and memorable songs.

The musical numbers in 1776, including “He Plays the Violin” and “But, Mr. Adams,” are known for their catchy tunes and clever lyrics.

The movie explores the conflicting interests of the Founding Fathers.

1776 delves into the conflicting interests and ideologies of the Founding Fathers, highlighting the challenges they faced in reaching a consensus.

The film offers a unique perspective on the birth of American democracy.

1776 offers a unique perspective on the birth of American democracy, shedding light on the complexities and struggles that accompanied the formation of the United States.

The movie’s historical accuracy has been praised by historians.

Historians have praised 1776 for its attention to historical details and its ability to capture the essence of the time period.

The film’s success on stage led to its adaptation into a movie.

The success of the 1776 Broadway musical paved the way for its adaptation into a feature film, allowing a wider audience to experience the story.

The movie serves as a reminder of the sacrifices made by the Founding Fathers.

1776 serves as a poignant reminder of the sacrifices and risks taken by the Founding Fathers, spotlighting their determination to create a free and independent nation.

1776 is a captivating movie that offers a unique glimpse into the birth of American independence. With its engaging story, memorable characters, and impressive musical numbers, it has captured the hearts of audiences for decades. The movie not only provides entertainment but also sheds light on the challenges and struggles faced by the Founding Fathers in their quest for freedom.

Through its accurate portrayal of historical events and its thought-provoking themes, 1776 serves as a reminder of the courage and sacrifice that went into the creation of the United States. Whether you’re a history buff or simply enjoy a well-crafted film, 1776 is a must-watch that will leave you inspired and grateful for the freedoms we enjoy today.

Q: Is 1776 a historically accurate movie?

A: While 1776 does take certain artistic liberties for the sake of storytelling, it is generally considered to be historically accurate. The movie captures the essence of the events leading up to the signing of the Declaration of Independence and highlights the debates, conflicts, and compromises that took place among the Founding Fathers.

Q: Who are the main characters in 1776?

A: The main characters in 1776 include John Adams, Thomas Jefferson, Benjamin Franklin, Richard Henry Lee, John Hancock, and several other notable figures from the Continental Congress .

Q: Is 1776 a musical?

A: Yes, 1776 is a musical film that incorporates various musical numbers to enhance the storytelling. The songs provide insight into the thoughts and emotions of the characters and add a dynamic element to the movie.

Q: When was 1776 released?

A: The movie 1776 was released in 1972.

Q: Can children watch 1776?

A: 1776 is generally suitable for older children and teenagers who have an interest in history. It is rated PG and may require parental guidance due to some intense and mature scenes.

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‘1776’ Review: Bold Choices Enliven Broadway Revival of Revolutionary Musical

By Frank Rizzo

Frank Rizzo

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The opening moments of this exuberant, thought-provoking and radical revival of “1776” makes it clear who was missing from John Trumbull’s famous painting of the signers of the Declaration of Independence.

As the female, transgender, non-binary and racially and ethnically diverse cast arrives on stage, exchanges street clothes for period waistcoats and literally steps into the black buckled shoes of this country’s forefathers, we know immediately that this will be a theatrical re-imagining not only of history, but the acclaimed Tony Award-winning 1969 musical.

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Co-director Page also choreographs the movement and dance, making its tableaux very vivant — and then some. This “1776” pulsates with energy, snaps with attitude and enlivens history, which take place mostly in the Chamber of the Continental Congress in Philadelphia as these colonial representatives argue about breaking ties with England and constructing what would eventually be a clearly imperfect union.

Obnoxious, disliked and obsessively determined, John Adams (a solid Crystal Lucas-Perry) leads the charge for independence, along with Benjamin Franklin (Patrena Murray, delightful as the scene-stealing sage) and Thomas Jefferson (Elizabeth A. Davis).

The tut-tutting opposition is led by John Dickinson (Carolee Carmello, in brilliant voice) and the other conservatives, deliciously depicted in “Cool, Cool, Considerate Men,” a witty yet chilling highlight once again.

Other choices expand but not necessarily improve upon moments that were already theatrically stunning. While the new choral work in “Momma, Look Sharp” is gorgeous under AnnMarie Milazzo’s vocal design, bringing a literal and awkward Momma on stage for a very long time is not nearly as effective as the one the audience holds in its imaginations and hearts.

Inflating the production values of “Molasses to Rum” only undercuts the dazzling and nuanced acting and vocals of Sara Porkalob as the sinuous Edward Rutledge, in this scathing critique of the New England’s hypocrisy in its involvement in the slave trade. (The repeat of the barrel imagery also loses its punch in its second go-round at show’s end.)

Still, the singing couldn’t be richer with these beautiful, wide-ranging harmonizing voices. Giving the production a cooler, contemporary accompaniment are fresh orchestrations by John Clancy under the music direction of Ryan Cantwell.

The two sole female characters are standouts: Allyson Kaye Daniel shows beautiful restraint and voice as Abigail Adams, while Eryn Leroy as Martha Jefferson also shimmers in the first act-ending “He Plays the Violin” — with Davis actually playing the instrument. But the number is robbed of its pure joy by performing it with leers and orgasms instead of winks and smiles.

Like “Hamilton,” this “1776” allows audience to witness a history anew through an outsider’s eye, as it reframes the classic Trumbull painting in a different light, from a different angle, and offering a more critical perspective, one that inspires, yes, but one that also continues to haunt in its incompleteness.

American Airlines Theatre; 740 seats; $159 top. Reviewed Oct. 2, 2022. Opens Oct. 6. Running time: 2 HOURS 40 MIN.

Production: A Roundabout Theatre Company and The American Repertory Theater production of a musical in two acts, based on a concept by Sherman Edwards; music and lyrics by Edwards and book by Peter Stone.
Crew: Directed by Jeffrey L. Page and Diane Paulus; choreography, Jeffrey L. Page; sets, Scott Pask; costumes, Emilio Sosa; lighting, Jen Schriever; sound, Jonathan Deans; projections, David Bengali; music director, Ryan Cantwell; orchestrations, John Clancy; music coordinator, Dean Sharenow; music supervisor, David Chase; production stage manager: Alfredo Macias.
Cast: Crystal Lucas-Perry, Carolee Carmello, Elizabeth A. Davis, Patrena Murray, Allyson Kaye Daniel, Sara Porkalob, Gisela Adisa, Liz Mikel, Eryn LeCroy, Shawna Hamic, Salome B. Smith, Nancy Anderson, Becca Ayers, Tiffani Barbour, Mehry Eslaminia, Joanna Glushak, Oneika Phillips, Lulu Picart, Sushma Saha, Brooke Simpson, Sav Souza, Jill Vallery.

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Michael Douglas' ‘Franklin' Is an Exhausting Account of a Secret Mission During the American Revolution: TV Review

When pondering the Revolutionary War, specific inflection points come to mind. The Boston Massacre of 1770, Paul Revere's midnight warning in 1775 and the signing of the Declaration of Independence in 1776 are often the main topics of conversation. However, much more went on during the nearly two-decade-long battle that led to the 13 colonies' independence from England. Adapted from Pulitzer Prize-winner Stacy Schiff's novel, "A Great Improvisation: Franklin, France, and the Birth of America," Apple TV+'s "Franklin" recounts inventor Benjamin Franklin's eight-year mission in France where he schemed and plotted to foster a Franco-American alliance. What should be a sparkling recounting of a pivotal moment in U.S. history is flattened, becoming a mind-numbing and belabored affair of wig-wearing men shouting at each other in dark rooms.

Created by Kirk Ellis and Howard Korder, the series opens in December 1776. Though the Declaration of Independence had been signed three months prior, the fledgling republic was on the brink of collapse. Due to sparse funding and a paltry 3,000 soldiers trying to stand against Britain's formidable forces, the Continental Congress was running out of options. Franklin (Michael Douglas), a publisher and an intellectual, was America's last hope. Landing on the shores of Brittany, France, the statesman and his grandson, Temple (Noah Jupe), embark on a mission to politically and financially lure French diplomats to America's side. While the pair hoped to set up shop in Paris quietly, the 70-year-old scientist's celebrity immediately put a massive wrinkle in their plans, forcing them to use different tactics.

"Franklin" sheds light on little-known aspects of the American Revolution and Franklin's life, but this account is best left to savor between the pages of Schiff's book. Across eight episodes stuffed full of dull monologues in a country 3,000 miles away from the action of the war, the philosopher's quest feels both self-serving and arrogant. Douglas tries to infuse humor in the role, highlighting Franklin's various ailments – including his bouts of gout, along with his terrible grasp of the French language. Still, these interjections fail to break through the monotony of the show. Additionally, while much of "Franklin" focuses on the polymaths's relationship with Temple, a good chunk of the narrative involves the duo being at odds. As the 19-year-old moves toward manhood, his grandfather's shaky guidance and trauma of his own father's incarceration lead to more than a few cringe-worthy outbursts.

Moreover, the series' sluggish tone fails to capture how ingenious Franklin had to be to entice the French under the guise of a future even he couldn't see clearly yet. In addition to Franklin and Temple, there are countless figures to keep track of. There are the Chaumonts who house and feed Franklin and others to their financial detriment. Charles Gravier, Comte de Vergennes (Thibault de Montalembert), reluctantly works to convince King Louis XVI to come to America's aid. Also, the dejected Anne Louise Brillon de Jouy (Ludivine Sagnier) seeks solace in Franklin's company in the wake of her husband's flagrant extramarital affairs. The vast plot points and storylines muddle the central message of the show instead of fortifying it.

Despite the density of "Franklin," it is beautifully textured, a true testament to the incredible craftsmen on the project. Dan Weil's production design and Benedicte Joffre's set decoration immaculately and easily transport the viewer into the opulence of Marie Antoinette's era. From Versailles to Passy, each location is intricately detailed and styled. The costuming of Olivier Bériot and the hair and makeup on Hochet Adeline, Alessandro Bertolazzi and Liz Ann Bowden produce some breathtaking visuals. One, in particular, involves a towering curled wig and a golden sailboat mounted on top of it.

While "Franklin" trails through the novice diplomat's prolonged stint in France, where he used his laissez-faire attitude to thwart British spies and persuade the French to fork over a staggering $9 billion in today's currency, Douglas and the series overall never showcase the charm and ingenuity the Founding Father had to have possessed to pull off this massive feat. Instead, the constant battles of will between himself and other diplomats, including would-be President John Adams (Eddie Marsan), make it almost astounding that America did indeed come to be.

The first three episodes of "Franklin" premiere on April 12 on Apple TV+, with new episodes dropping weekly on Fridays.

‘Civil War’ and Its Terrifying Premonition of American Collapse

A close-up of a broken window, with what looks like a bullet hole in it.

By Michelle Goldberg

Opinion Columnist

Going into Alex Garland’s astonishing new film, “Civil War,” I expected to be irritated by the implausibility of its premise. I’m not talking about the idea that America could devolve into vicious internecine armed conflict. That seems possible, if not probable. In one 2022 poll , 43 percent of Americans said they thought a civil war within the next decade was at least somewhat likely. I wouldn’t go that far, but I won’t be surprised if political violence spikes after the upcoming election and eventually spirals out of control. I’m pretty confident, however, that if the sort of war Garland depicts ever actually broke out in this beleaguered nation, California and Texas wouldn’t be on the same side.

“Civil War” has received plenty of adulatory reviews, but Garland has also been widely criticized for eliding the ideological forces driving America’s fracturing. He’s repeatedly spoken about the dangers of polarization, a bit of a cop-out, given that only one American political party has leaders who lionize violent insurrection. This month A24, the powerhouse indie production company behind “Civil War,” released a map of the film’s fictional divisions on social media, under the hokey caption “Pledge your allegiance.” It showed an America split among the Loyalist States, stretching from the East Coast through the center of the country; the southern Florida Alliance; the secessionist Western Forces of California and Texas; and the New People’s Army of the northwest, which sounds vaguely Maoist.

This suggested a fictional universe in which far-right militias and antifa groups pose comparable threats, an impression strengthened by some of Garland’s comments at South by Southwest, the Austin, Texas, cultural festival where “Civil War” debuted . “I have a political position, and I have good friends on the other side of that political divide,” he said . “Honestly, I’m not trying to be cute. What’s so hard about that?” The obvious answer is that friendly disagreement between left and right is possible on some issues but not others; there’s no fruitful debate to be had about, for example, whether migrants are “poisoning the blood” of our country. Garland’s No Labels-style denunciation of extremism in general — as opposed to the particular kind of extremism behind America’s most deadly recent political violence — seemed to me a little glib and cynical, as if he wanted to make a hugely provocative movie but not risk offending potential audiences. If you’re going to dramatize many of our worst fears about the trajectory of American politics, I thought you should take the substance of those politics seriously.

But now that I’ve seen “Civil War,” which is neither glib nor cynical, Garland’s decision to keep the film’s politics a little ambiguous seems like a source of its power. The emphasis here should be on “a little” because, contrary to some of what I’d read, its values aren’t inscrutable, just lightly worn. Yes, there is a reference, early on, to “Portland Maoists.” We learn that the film’s heroine, a valiant, traumatized combat photographer named Lee, is famous for shooting the “antifa massacre,” but we never find out if antifa members were the perpetrators or victims. Still, it’s not a stretch to interpret the film as a premonition of how a seething, entropic country could collapse under the weight of Donald Trump’s return.

As “Civil War” opens, America’s third-term president — a man who will later be compared to Benito Mussolini, Nicolae Ceausescu and Muammar el-Qaddafi — is practicing a blustering speech. “We are now closer than we have ever been to victory,” he says, falsely, adding, “Some are already calling it the greatest victory in the history of mankind.” Nick Offerman, who plays the president, doesn’t imitate Trump’s mannerisms, but the phrasing — the absurd, mendacious hyperbole attributed to nameless third parties — is extremely familiar. Soon after this scene, a journalist imagines asking him if, in retrospect, disbanding the F.B.I. was a mistake.

The action in “Civil War” is driven by Lee and her colleagues’ quest to make it from New York to Washington, D.C., to capture the president’s overthrow by rapidly advancing rebel forces. (The front line, in a resonant note, is in Charlottesville, Va.) In the film’s most gutting scene, a paramilitary soldier filling a mass grave asks each of the journalists where they’re from. Lee is from Colorado, and a younger reporter whom she’s reluctantly taken on as a protégée is from Missouri. To the soldier, these women, who are, like him, both white, are the right kind of American. Others in their party don’t qualify.

Given this setup, the ideological indeterminacy of the rebels helps the movie avoid seeming schematic or didactic. “Civil War” is an antiwar war movie; you’re not supposed to root for anyone except the journalists witnessing it. Part of what makes it so searing, though, is that aside from its unlikely California-Texas alliance, its story doesn’t require too much explanation to make sense. Garland has said that the dynamics depicted in “Civil War” aren’t specific to America, but had he attempted a similar movie about his native England, a lot more narrative scaffolding would have been required to show how citizens turned fratricidal, not to mention where all the heavy weapons came from. In America, you need less signposting on the route from our uneasy present to an imagined implosion. The movie’s refugee camps don’t look all that different from the tent encampments in many American cities. The paramilitary guy, in his fatigues and goofy red sunglasses, could easily be a Boogaloo Boi or an Oath Keeper. The culminating battle in the capital is a more intense version of scenes we witnessed on Jan. 6.

Early in the movie Lee says, “Every time I survived a war zone and got the photo, I thought I was sending a warning home: Don’t do this.” “Civil War” works as a similar sort of warning. It’s close enough to where America is right now that we don’t need Garland to fill in all the blanks.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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Michelle Goldberg has been an Opinion columnist since 2017. She is the author of several books about politics, religion and women’s rights, and was part of a team that won a Pulitzer Prize for public service in 2018 for reporting on workplace sexual harassment.

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Movie Reviews

'civil war' is a doomsday thought experiment — that could have used more thinking.

Justin Chang

Kirsten Dunst plays a battle scarred photojournalist in Civil War. Murray Close/A24 hide caption

Kirsten Dunst plays a battle scarred photojournalist in Civil War.

Releasing a movie called Civil War in this election year is certainly one way to grab headlines. Surprisingly, though, Alex Garland 's ambitious new thriller largely sidesteps the politics of the present moment.

It wants to sound a queasy note of alarm, as if the democracy doomsday scenario it's showing us could really happen, but it's hard to buy into a premise that feels this thinly sketched. The story takes place in a not-so-distant future where Texas and California have improbably joined forces and seceded from the U.S.

Florida, not to be outdone, has also broken away on its own. The president, a third-term tyrant played by Nick Offerman , has responded by calling in the troops and launching airstrikes on his fellow Americans, plunging the country into poverty and lawlessness.

Garland keeps a lot of the details vague; he's less interested in how we might have gotten here than in how we would respond. To that end, he focuses on characters whose job it is to document what's happening.

Kirsten Dunst gives a strong, tough-minded performance as Lee, a skilled photojournalist who's covered conflicts all over the world and is now confronting this nightmare on her home turf. She's headed from New York to Washington, D.C., where many expect that the war, which has been raging for some time, will end with a showdown at the White House.

Accompanying Lee on this dangerous journey are two seasoned colleagues: Joel, a wily reporter played by Wagner Moura from Narcos , and Sammy, a veteran political writer played by the always outstanding Stephen McKinley Henderson.

The America in Civil War looks both familiar and unfamiliar. A24 hide caption

The America in Civil War looks both familiar and unfamiliar.

Per movie convention, there's also an inexperienced young outsider: Jessie, an aspiring war photographer played by Cailee Spaeny, the star of last year's biopic Priscilla . Not long into their trip, the four journalists stumble on a tense scene at a gas station where three armed men are holding two other men captive. The journalists get away without incident, but Jessie was deeply disturbed by what what was happening, started second guessing herself and didn't get the shot.

In time, Jessie gets better at her job; more than that, she becomes hooked. The movie is partly about the addictive thrill of thrusting a camera into a war zone. But it's also about the trauma and desensitization that these photographers experience as they put their emotions aside and do everything they can to get that perfect shot.

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Civil War itself has been quite strikingly visualized by the cinematographer Rob Hardy and the production designer Caty Maxey. They show us an America that looks both familiar and unfamiliar, resembling the battlefields we've seen in footage from other conflicts in other places. There are surreally grim images of bloodstained sidewalks, bombed-out buildings, and a once-busy highway where rows of abandoned cars stretch for miles and miles. Garland has a real feel for post-apocalyptic landscapes, as we saw in his script for the zombie thriller 28 Days Later . In the movies he's directed since, like the brilliant Annihilation , he's shown a real talent for building suspense and anxiety.

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But as stunningly detailed as Civil War 's dystopia is, from moment to moment, I hardly believed a thing I was seeing. As Lee and her pals inch closer to D.C., they go from one violent set-piece to another, each one calculated for maximum terror.

There's a nasty ambush at a Christmas theme-park display in the middle of nowhere, followed by a chilling encounter with a gun-toting racist psychopath played, in a mordant touch, by Jesse Plemons, Dunst's off-screen husband. The result is more of a button-pushing genre exercise than a serious reckoning with the consequences of the movie's premise. By the time the characters arrive at their destination, just in time for a daring raid on the White House, Civil War feels ever more like an empty stunt — a thought experiment that hasn't been especially well thought out.

Movie Interviews

Dunst: expressing something blue in melancholia.

If there's one thing that keeps you watching, though, it's Dunst's performance as a battle-scarred professional doing her job under horrific circumstances that she's too numb to feel horrified by. As she showed in her great performance in Lars von Trier 's Melancholia , there's something about Dunst that's particularly well suited to apocalyptic material. I wish her better vehicles than Civil War in the future, but it's gratifying to see her anchor a major movie regardless. She's an actor I'd follow to the end of the world and back.

Review: Once again, ‘Don’t Tell Mom the Babysitter’s Dead,’ but the remake still has vital signs

Four kids are left in the babysitter's hands.

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The hazards of remaking a beloved film are well known. While the 1991 comedy “Don’t Tell Mom the Babysitter’s Dead,” starring Christina Applegate, didn’t exactly thrill critics 33 years ago, it’s become a cult classic, especially for elder millennials who grew up on the movie. It’s the ideal text for a remake: The source material isn’t regarded as untouchable, the name recognition is high and it can be easily adapted to a modern milieu while still stoking childhood memories for those who love the original.

Nostalgia can be a trap, one that writer Chuck Hayward and director Wade Allain-Marcus fortunately sidestep. There are enough nods to the first film to please fans looking for Easter eggs, but they don’t get in the way of the story itself, a teen comedy that keeps it real, despite the heightened circumstances. They also update the family from white to Black, which brings a different layer of stakes to the situation.

After their mother ( Patricia “Ms. Pat” Williams ) suffers a nervous breakdown at work, the Crandell siblings are left in the care of a Mrs. Sturak ( June Squibb ), a sweet old lady who reveals herself to be a nagging, racist, slut-shaming tyrant. In her advanced age, she drops dead from shock — or perhaps secondhand smoke — after the wild rager that the kids throw in the house proves too much for her to bear. Hoping to evade the authorities, the Crandell siblings get rid of her body, along with her purse filled with cash from Mom.

Without wanting to disturb their mentally fragile mother, shipped off to a meditation retreat in Thailand, it’s up to big sis Tanya (Simone Joy Jones) to get a grownup job and provide for her siblings. So much for a fun summer; she’s now learning the joys of a Los Angeles morning commute and cutthroat office politics at a fashion company called Libra. Meanwhile, her skater brother Kenny (Donielle T. Hansley Jr.) has to get his slacker act together to hold down the fort at home.

A babysitter stands aghast at the goings-on of a house party.

Much of the appeal of the original film came from Applegate in her first major film role (she was already well-known thanks to “Married … With Children”), playing eldest sister Sue Ellen. Jones is similarly charming, selling a performance of a likable teen who is in over her head but gamely manages to thrive in a professional work environment.

The script by Hayward isn’t exactly breaking new ground (this is a remake after all), but it establishes the Crandells as unique and distinctive characters, including smart and weird little bro Zack (Carter Young) and morbid gamer tween Melissa (Ayaamii Sledge). Their domestic interactions are funny and natural, and their healthy skepticism of the police has real consequences and informs their questionable decision-making.

The only weak link in the family is Williams, a stand-up comedian whose small, underwritten part as mom to the Crandell kids doesn’t play to her strengths. Meanwhile, Tanya’s new role model at Libra is portrayed by Nicole Richie, so dynamic and energizing onscreen you wonder why she doesn’t act more. She has genuine chemistry with Jones.

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This is the first major feature directed by Allain-Marcus, an actor who co-starred on “Insecure,” and he does a lot to demonstrate his abilities and influences as a filmmaker here. The cinematography by Matt Clegg is crisp and saturated, utilizing a lot of complex tracking shots, and there are nods to ’70s-style filmmaking and retro touches like the yellow title font that drops about 18 minutes into the film. Some of these flourishes are slightly inconsistent with the material, but demonstrate a new voice excited to experiment with the form of teen comedy.

“Don’t Tell Mom the Babysitter’s Dead” is surprisingly authentic and fun for remake material, which is naturally formulaic. It’s the focus on character work that lets this one sing, and it should make a star out of Jones, who, like her character, manages to hold it all together.

Katie Walsh is a Tribune News Service film critic.

'Don't Tell Mom the Babysitter's Dead'

Rating: R, for teen drug use, language and some sexual references Running time: 1 hour, 39 minutes Playing: In wide release Friday, April 12

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‘Civil War’ beholds the rockets’ red glare but not real-world divisions

Alex garland’s lean, cruel film appeals to its broadest base by dodging specifics.

The jaw-clenching, bullet-clanging thriller “Civil War” opens with a blurry image of the president of the United States of America. As the president moves into view, we can see he’s played by Nick Offerman and can hear the speech he’s practicing, vague platitudes about vanquishing the insurgents of California and Texas. But even as POTUS’s face comes into focus, writer-director Alex Garland keeps him fuzzy. What are his politics? What could have possibly united blue California and red Texas against him? What year is it? I suspect Garland might answer that specifics are a distraction. No bloodbath is rational.

Early on in Garland’s fourth movie, a bomb explodes in New York. In the eerie silence, a hard-bitten war photographer named Lee (Kirsten Dunst) dispassionately snaps photos of the fresh corpses. Behind her, a greenhorn named Jessie (Cailee Spaeny) takes photos of Lee taking photos of the dead, and behind Jessie, of course, are Garland and his cinematographer Rob Hardy filming images of both women. There are three lens-lengths of distance between these horrors and us bystanders curious to see the collapse of the United States.

Everyone in that chain would claim they’re recording the brutality for our benefit. Lee admits she hoped ghastly images from her earlier career — a montage of executions from other wars in other countries that flips by in eerily stunning slow motion — would caution her own homeland to keep the peace. Clearly, that didn’t work. Maybe Garland naively hopes the same, which is why he’s avoided the real-world polarization behind this conflict so his gory warning will be watched by as many Americans as possible. Garland has stripped every background player of any demographic patterns of age, race, class, gender or beliefs. One fatal standoff is between two women of color who appear to be roughly the same age. There’s no telling which side would want your allegiance (and, honestly, neither deserves it). The only word we recognize, a reference to Lee’s landmark photographs of something called “the antifa massacre,” rushes past so fast that only later do we realize Garland didn’t give away whether the antifascists got slaughtered or did the slaughtering.

Garland doesn’t investigate how this war started, or how long it’s been going on, or whether it’s worth fighting. The film is, like Dunst’s Lee and her longtime colleagues Joel (Wagner Moura) and Sammy (Stephen McKinley Henderson), coldly, deliberately incurious about the combatants and the victims. As Lee says, any moral questions about them should be asked by whoever is looking at her photos, but those theoretical observers don’t factor into the film, either. (By contrast, this year’s Oscar documentary winner “20 Days in Mariupol,” also about photographers in a war zone, threw its narrative weight behind the desperation to get its powerful images out .) When we take in Dunst’s weary gaze and welded-on grimace with the same dispassion Lee gives to her own subjects, we can’t imagine the last time she let herself feel anything at all.

Yet the blinders Garland welds onto the story make it charge forward with gusto. This is a lean, cruel film about the ethics of photographing violence, a predicament any one of us could be in if we have a smartphone in our hand during a crisis. That’s also a predicament that Garland and other big-idea, big-scare directors find themselves in when they want to tell a shocker about very bad things without overly enjoying their sadistic thrills. Garland’s first three movies — “Ex Machina,” “Annihilation” and “Men” — dug into artificial intelligence, environmental collapse and sexual aggression, some more compellingly than others. In “Civil War,” any patriotic ideals about what this country once stood for never come up. The closest anyone comes to invoking democracy is a funny gag when a hotel concierge tells Lee that, given the sporadic blackouts, she has the freedom of choice between risking the elevator or climbing 10 flights of stairs.

Most of the movie is spent embedded with Lee, Jessie, Joel and Sammy as their battered white van takes a circuitous route from Manhattan to Washington. The gang races their competitors for footage of the president. Over a soundtrack of anxious punk rock, we see the cost of nabbing the money shot: the bottles of vodka, the filthy clothes worn for days on end, the growing doubts that their press badges still offer protection. Garland has an obvious arc in mind: Jessie the rookie must shed her vulnerability (which Spaeny does, masterfully), while Lee the veteran must regain hers. But it’s hard to buy Dunst’s unflappable pro needing to be dragged around by the scruff of her bulletproof vest like a mewling kitten.

Occasionally, the film plays us for a fool. The trailers have made a fuss over a line where a rifle-wielding soldier (Jesse Plemons) asks the journalists, “What kind of Americans are you?” But in context, it turns out that the brute is asking Moura’s Joel if he might be Central or South American. (“Florida,” Joel replies.) The bully is actually “just” xenophobic — a fake-out that feels like Garland is nervously changing the subject. Yet, more often, the film feels poetically, deeply true, even when it’s suggesting that humans are more apt to tear one another apart for petty grievances than over a sincere defense of some kind of principles. In one dreamlike scene, the team is attacked by sniper fire at an abandoned winter carnival. No one knows who’s shooting, a stranger in fatigues shrugs, as they duck behind plastic penguins and plaster Santa Clauses. We never will.

R. At area theaters. Contains strong violent content, bloody/disturbing images and language throughout. 109 minutes.

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Americans Have Enjoyed Imagining Civil War for a Long, Long Time

The “what if we had a big ol’ fight” genre is back, this time on the big screen..

The year is 1849. Martin Van Buren has just been sworn in for his fourth term as president. Every state from the Carolinas on south secedes from the Union. The U.S. Army occupies Richmond to keep Virginia from joining them. Separatists take to the western mountains and organize a guerrilla campaign. In Washington, Van Buren assumes dictatorial powers, hangs traitors on a whim. The sons of the Old Dominion have to choose between the Union they have been raised to admire and the state they deeply adore.

An intriguing alternate history? Not quite. The novel in which this story appears flashed forward in time, not back. Well, actually, it did both: Published in 1836 but with a date on the title page of 1856, as if remembering a war that had already occurred, The Partisan Leader: A Tale of the Future didn’t so much relate a different version of the Civil War as prophesy its coming, missing the eventual start date by only a dozen years.

That makes it the little-known granddaddy of a whole subgenre of American literature (and now film): blood-drenched imaginings of what it would be like to witness the crackup of the country. Americans have always been at once horrified and titillated by the prospect of these states becoming disunited. If the U.S. is an “imagined community,” as the anthropologist Benedict Anderson described the modern nation-state, one of the things its citizens most love to imagine is its violent undoing.

Lately, even more so than usual, a profound sense of decline and disintegration has come to define the national mood. How obvious, then, even inevitable, to pair this primordial form of American catastrophism with the evidently deathless genre of big-budget disaster movies. Americans fighting Americans, the country falling apart, the breakdown of civic order—what could be more popcorn-worthy than that?

As a genre, disunion fantasy fiction has often showcased bad politics and even worse art. The hypothetical scenarios of such works tend to be hilariously implausible, the authors’ intentions murky at best—or, sometimes, clearly mercenary. Even in this context, however, Alex Garland’s much-ballyhooed Civil War stands out for its eagerness to exploit popular fears of mass political violence without offering any meaningful reflection on the underlying factors that have led to it. Experience it in IMAX! the promotional poster urges, in a tone that sits uncomfortably with the director’s claim that he made the film as a warning of what could occur if we are not careful. If the past is any guide, such macabre depictions of what Edmund Wilson called “ patriotic gore ” may only accustom us to the likelihood that it will.

Obsessing about a potential future civil war was a favorite activity of Americans in the years before they ventured into the fields to murder one another en masse. As the crisis over slavery deepened, a bumper crop of new novels depicted a Southern breakaway movement and a bloody conflict with the North. The books’ authors tended not to deplore the possibility but to welcome it. They wanted readers to envision, from the safety of their armchairs, what the destruction of the nation would look like—and to help bring it on.

The Partisan Leader , though published under a pseudonym, was widely known to be the work of a Virginian named Nathaniel Beverley Tucker, a son of the slavocracy who taught at the College of William and Mary and landed sooner than most Southerners on the conclusion that secession offered the only guarantee for the continuation of Southern institutions—slavery above all. As early as 1820, Tucker swore never to rest until he saw the Union “shattered into pieces.” A professor of law at William and Mary for nearly 20 years, Tucker trained a generation of Southern leaders in how to think about the Constitution. Later, his students would lead their states out of the Union, just as Tucker had hoped.

But Tucker’s ambitions as an educator went beyond formal instruction. Turning to fiction and using the novels of Walter Scott as a model, he wanted to help Southerners imagine how the breakup of the Union might happen, and to show where their loyalties should lie if it did.

Duff Green, a prominent Washington publisher and close ally of South Carolina Sen. John C. Calhoun, printed 2,000 copies of the book in two volumes. The Southern Literary Messenger, an influential periodical then edited by Edgar Allan Poe (who corresponded with Tucker and sought advice from him), praised the artistry and plausibility of the novel, as well as its argument for Southern resistance to federal tyranny: “The reader rises from the perusal of the book with solemn impressions of the probable truth of all the writer’s speculations; and he naturally asks himself, by what means the evils he has seen depicted may be prevented.” Northern journals ignored the scandalous work, and booksellers refused to stock it, but The Partisan Leader found new relevance a quarter century later, with the secession of the seven southernmost states. In 1861 a New York publisher reprinted the book with the title A Key to the Disunion Conspiracy . The novel seemed to have predicted the future. Events were following Tucker’s script.

Seizing on Tucker’s prescient vision, other writers saw a market for similar works, only now they added elaborately detailed portrayals of interstate violence—the CGI of the time. In 1859 John Beauchamp Jones, a successful Maryland novelist (also once praised by Poe), published Wild Southern Scenes: A Tale of Disunion! And Border War! Thirteen Southern states abandon Congress, then send an army to occupy New York City and abduct free Black people and bring them back as slaves. A villainous Northern general proclaims himself “Lord Protector of the United States,” invades the South, and wields the guillotine to gruesome effect. Great Britain leaps into the fray, keen to take advantage of the chaos and reclaim its lost colonies. North and South join together to expel the foreign foe. The Constitution is restored.

A New York–based businessmen’s magazine found the book full of “ingenuity and invention” and hoped it would “have the effect of opening the eyes of the more conservative to the terrible results that will follow from the sectional madness and folly now disturbing the country.” By contrast, Edmund Ruffin, an eccentric, long-maned agricultural reformer from Virginia and a passionate advocate of Southern separatism, thought Jones’ book “very foolish”—especially its feel-good ending—and decided he could do better. The result, Anticipations of the Future (1860), was both impressively timely and remarkably unhinged.

The novel, serialized in a pro-secession South Carolina newspaper, then packaged as a book by a top Southern publisher, took the form of fictional dispatches by a correspondent to an English newspaper about a crisis following the Lower South’s secession from the Union. To suppress the rebellion, the president of the United States, New York’s William Seward, sends an army into Virginia, prompting the rest of the slave states to leave. A gruesome fight ensues, climaxing with the wholesale slaughter of mixed-race Northern armies, described by Ruffin in gory detail. The abolitionist William Lloyd Garrison is hanged, his corpse defiled by vultures. Meanwhile, the Western states secede and join the rebellion. Northern cities go up in smoke, leaving “many thousands of charred and partly consumed skeletons.”

Writing these scenes, Ruffin confided to his diary, was “alike amusing to my mind, & … conducive to immediate pleasure.”

Only about 400 readers bothered to pick up Ruffin’s overwrought novel, much to the author’s chagrin. That might have been because the future he anticipated was already becoming a reality. In the novel, South Carolina seizes Fort Sumter in Charleston Harbor—just where the actual fighting would begin only months after the publication of Ruffin’s book, when the 67-year-old author, a volunteer with the militia, was himself given the high honor of firing one of the first shots in the war he had fantasized about with such pleasure.

The unfathomable devastation that ensued, leaving three-quarters of a million dead, hundreds of thousands more wounded in body and mind, and much of the South a smoldering ruin, took the fun out of imagining what a nation-rending conflict would look like. The genre disappeared for a time. Ruffin shot himself in the head after the surrender at Appomattox. The reality of Southern secession hadn’t matched up to the turgid fantasies of his fiction.

In the decades after the Civil War, expectations of national division over slavery were replaced by fears that mass immigration would undermine American unity. In 1880 Canadian-born San Francisco lawyer and journalist Pierton W. Dooner published Last Days of the Republic , which depicted a Chinese army overthrowing the Pacific states, then marching east all the way to Washington: “The very name of the United States of America was thus blotted from the record of nations and peoples.”

Perhaps one of the strangest disunion-fantasy novels ever published was Imperium in Imperio (1899), by Sutton E. Griggs, a 27-year-old preacher and son of formerly enslaved parents. The novel revolves around a secret government⁠ of, by, and for Black Americans⁠, based in a bunker beneath a Texas college. Devoted to racial progress and fighting discrimination, the Imperium recruits a rising generation of ambitious, educated Black men who have grown frustrated at being denied the most basic rights and privileges of citizenship. “They grew to hate a flag that would float in an undisturbed manner over such a condition of affairs,” Griggs writes. “They began to abuse and execrate a national government that would not protect them against color prejudice, but on the contrary actually practiced it itself.”

After a black postmaster is lynched in South Carolina⁠—an event that really happened , a year before Griggs published his novel⁠—the Imperium decides to take Austin and declare war on the United States. “Thus,” the president of the Imperium proclaims, “will the Negro have an empire of his own.”

The turmoil of the 1960s and ’70s, breeding a new wave of concern about national failure and societal collapse, led to another boomlet in fictional depictions of the United States’ cracking up. The Texas-Israeli War: 1999 , written by sci-fi authors Jake Saunders and the late Howard Waldrop at the peak of the 1973 oil crisis, depicted the reestablishment of the independent Lone Star Republic in a world torn apart by biological and chemical warfare. After Texans kidnap the American president, mercenaries from the Jewish State attempt to rescue him. On Wings of Song (1979), by Thomas Disch, portrayed an America destroyed by economic inequality and culture war, divided between a liberal “Babylon” on the coasts and a semiautonomous conservative region, “Columbia,” in the heartland, populated by “undergoders”—an astute depiction of the rural-urban divide that would only worsen in the coming years. In Margaret Atwood’s now-canonical The Handmaid’s Tale (1985), a turn to religious fundamentalism brings a second civil war and the rise of a theocratic, women-enslaving dictatorship.

A few novels rejected dystopian warnings in favor of, like the antebellum Southern writers, actually proposing disunion as an improvement on the status quo—a stance shared by authors of vastly different political stripes. Ecotopia , a 1975 novel by the environmentalist Ernest Callenbach, imagined the establishment of a separatist West Coast republic whose residents live in dynamic, sustainable harmony with one another and with nature, while far on the other side of the political divide, William Luther Pierce’s The Turner Diaries (1978) records the events of the “Great Revolution of 1991–1999,” in which Black people, Jews, and other non-Aryans are slaughtered and white “race traitors” hanged from lampposts. Seizing nuclear bombs from a military base, a shadowy group called the Order starts an atomic civil war with the federal government.

It can hardly be a good thing that the antebellum era’s obsession with concocting increasingly bloody disunion scenarios has reappeared with fresh vigor in recent years. There have been too many next-civil-war books to count, and most, true to the form, have been absolute garbage—maudlin, contrived, clichéd.

But not all. In Ben H. Winters’ Underground Airlines (2016), set in a 21 st -century United States where slavery remains legal in four states and the titular rescue network helps “Persons Bound to Labor” escape to Canada, the alt-history is only a provocative premise for airing matters relevant in both its fictional world and our real one: What compromises hold a country together, and when are those not worth the cost? Omar El Akkad’s American War (2017) shows a country split apart at the end of this century over an attempt to ban fossil fuels. El Akkad at once lays out a clever, thought-provoking scenario—more stable Middle Eastern powers intervene as the U.S. often has in the civil wars of other nations—and delves into complexities of identity, loyalty, and the human cost of civil conflict. Christopher Brown’s harrowing Tropic of Kansas (2017) paints a harrowing picture of a nation in the grip of authoritarianism and ecological collapse and celebrates the relentless pursuit of justice in the face of overwhelming odds.

And now we have director Alex Garland’s new film, with a title as bland as the movie itself. Like so much in our culture right now, Civil War isn’t nearly weighty enough to bear the load of discourse that’s been based on it. Focused on the ethical dilemmas and psychological torments involved in war photography—which, OK?—the movie takes advantage of our dark fascination with the possibility of political polarization leading to constitutional crisis and political violence, while refusing to actually explore those themes.

For all the ear-splitting explosions and hair-raising exchanges of gunfire across a variety of modern American landscapes—and, yes, the IMAX experience is intense—the film seems to be conscious of its own essentially pornographic nature. There is something cheap and unseemly in the way the camera lingers on a pile of human bodies, or the Lincoln Memorial blown to smithereens. Just as Southern secessionist Edmund Ruffin found writing gory scenes of executions and massacres “conducive to immediate pleasure,” Joel, one of the war photographers in Civil War (played by Wagner Moura), looks out on a night sky filled with arcing mortar shells and grunts, “This gunfire is getting me so fucking hard!”

The viewer is meant to be implicated, and we are. But instead of any profounder meditations on why mass slaughter both attracts and sickens us—for even Joel is eventually reduced to a puddle of tears—the film offers 90 more minutes of picturesque wreckage, bone-chilling executions, and, finally, the eagerly panted-after “money shot” (a phrase one of the journalists actually uses as the film’s climactic scene unfolds). At least Ruffin had an excuse for pleasing himself by turning his fantasies of American carnage into art: He wanted to bring it about. Garland claims he wants his film to do the opposite, but it’s strange, then, that not a single line or moment even implicitly alludes to what if anything could have been done to keep things from reaching such a breaking point.

In interviews, the filmmaker has claimed , “It’s a film about the product of polarization and division.” But if we are to understand that the president (played by Nick Offerman), who appears only fleetingly in the movie, has turned “fascistic,” as Garland explains —claiming a third term, abolishing the FBI, bombing American citizens—why is it bad that insurgents have risen up to overthrow him? If it’s not bad, how can the movie be described, as lead actress Kirsten Dunst has put it , as “anti-war”?

This deeply unserious film is not interested in probing those tensions, or, more to the point, its creator is too scared of alienating half the public by addressing them. It’s neither pedantic nor partisan to object to such explosive material being used to such shallow ends. Far from deterring the violence it depicts, Civil War may well convince some content-addled moviegoers that it sure would be something to see.

IMAGES

Holiday Film Reviews: 1776
‎1776 (1972) directed by Peter H. Hunt • Reviews, film + cast • Letterboxd
Retro Review
Holiday Film Reviews: 1776
Film Forum · 1776
‘1776’ The Movie: 5 Fast Facts You Need to Know

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REVOLUTIONARY WAR 1776 MASSIVE BATTLE IN THE RAIN (Ultimate General American Revolution)

COMMENTS

1776 movie review & film summary (1972)
By the time "1776" came along, the stage was set for a dumb, simplistic romp through Independence Hall. I guess we don't want to fully recognize the stature of those early leaders; might make the present variety look a little transparent. The movie, as everybody must know by now, involves the days immediately before the signing of the ...
1776 Movie Review
Parents' Guide to. 1776. By Nell Minow, Common Sense Media Reviewer. age 10+. Engaging historical musical has some bawdy humor, language. Movie G 1972 166 minutes. Rate movie. Parents Say: age 10+ 2 reviews. Any Iffy Content?
1776
The movie version. September 28, 2023 | Full Review…. With "1776," political struggles that took place nearly two-and-a-half centuries ago feel as fresh and immediate as the political struggles ...
1776 (film)
1776 is a 1972 American historical musical comedy drama film directed by Peter H. Hunt and written by Peter Stone, based on his book for the 1969 Broadway musical of the same name, ... On Rotten Tomatoes, the film has a 68% score, based on 19 reviews, with an average rating of 7.1/10.
1776 (1972)
1776: Directed by Peter H. Hunt. With William Daniels, Howard Da Silva, Ken Howard, Donald Madden. A musical retelling of the American Revolution's political struggle in the Continental Congress to declare independence.
1776 (1972)
User Reviews. Probably even before the musical 1776 finished its run on Broadway of 1217 performances from 1969 to 1972 this film was getting ready for release. The musical won a Tony Award for being the best in that category for Broadway and a pity it wasn't similarly honored by the Academy. All it received was a nomination for cinematography.
1776
1776 is the rare musical to tackle American Independence with memorable tunes and does so in almost three hours. Full Review | Original Score: 4/5 | May 31, 2022. Loren King Newport This Week (RI ...
'1776' Review (4K UHD): Before Hamilton, There Was 1776
1776 Review: Overall. 1776 is an entertaining film that history buffs are sure you love. Yes, it has a few liberties taken for the sake of the story but it's right much more than wrong. With the ...
1776 (1972)
1776 (1972) -- (Movie Clip) Lees Of Old Virginia John Adams (WIlliam Daniels) and Benjamin Franklin (Howard Da Silva) ... According to the Los Angeles Times review, the film was shown at a benefit performance for University of Southern California on the night before the film opened in Los Angeles. Harry Stradling, Jr. was nominated for an ...
1776 (1972) • Movie Reviews • Visual Parables
Tom Jefferson, Ben Franklin & John Adams pal around a lot in the musical 1776. (c) Columbia Pictures. Every July 4th I like to pull out my DVD of this film version of the Tony Award-winning Broadway musical and revisit old Philadelphia in honor of the founding of our country by the Second Continental Congress.
1776 (1972) 4K Review
1776 (1972) 4K Review. Da Silva is a standout amongst a talented cast which may be because he has some of the best lines of the whole film and he delivers them with incredible, comedic timing ...
Retro Review
Review. 1776 feels like a film from a completely different epoch than the one we live in now.Not only is it quieter, more simplistic, more patriotic, and more earnest than almost any film in the last fifty years, but it's also a movie that feels like it shouldn't have even been made in the decade it came out. In 1972, Hollywood was just entering the phase of the American New Wave ...
1776 (1972)
The film version of the Broadway musical comedy of the same name. In the days leading up to July 4, 1776, Continental Congressmen John Adams and Benjamin Franklin coerce Thomas Jefferson into writing the Declaration of Independence as a delaying tactic as they try to persuade the American colonies to support a resolution on independence.
Review: '1776,' When All Men, and Only Men, Were Created Equal
Crystal Lucas-Perry, center, as John Adams in the musical "1776" at the American Airlines Theater in Manhattan. Sara Krulwich/The New York Times. A transformation that's either wondrous or ...
'1776' Review: Declaration of Theatrical Independence
1776. American Airlines Theatre, 227 W. 42nd St., New York. $69-$179, 212-719-1300, closes Jan. 8. This much-discussed production, directed by Jeffrey L. Page (who also supplied the inventive ...
Parent reviews for 1776
The story is a bit wordy and slow moving, so younger kids may not follow the story well. There's not a lot of action per se, but it is very interesting to watch the history play out. The musical numbers can be a bit over-the-top funny (not necessarily meaning to be). But all in all it was enjoyable.
Review: '1776,' a Musical Portrait of Squabbling Politicians
March 31, 2016. Even in times of tumult, history moves at different paces. To see the hit Broadway musical "Hamilton" is to experience the American Revolution as a hotheaded, hotfooted affair ...
1776
Bring home the majesty and music of #1776 on 4K Ultra HD! Get it now at https://bit.ly/1776_4KSubscribe to Sony Pictures for exclusive content: http://bit.ly...
'1776' Review: A Revolutionary Take on an Old Warhorse
Diane Paulus, Roundabout Theatre Company. '1776' Review: A Revolutionary Take on an Old Warhorse. American Repertory Theater, Loeb Drama Center, Cambridge, Mass., 550 seats, $110 top. Opened ...
Kid reviews for 1776
Overall, 1776 is very school appropriate and clean, but only older viewers will come to appreciate the film more. On for any age, recommended for at least 12 and up. This title has: Great messages. Too much sex. Too much swearing. Helpful. The Hannah Claire Kid. March 7, 2012.
39 Facts about the movie 1776
The movie received mixed reviews from critics. Critics had differing opinions about 1776, with some praising its historical accuracy and performances, while others criticized its pacing and transition from a stage production to a film. ... The title of the movie, 1776, refers to the year that the Declaration of Independence was signed by the ...
'1776' Review: Bold Broadway Choices Enliven Revolutionary ...
Peter Stone. '1776' Review: Bold Choices Enliven Broadway Revival of Revolutionary Musical. American Airlines Theatre; 740 seats; $159 top. Reviewed Oct. 2, 2022. Opens Oct. 6. Running time: 2 ...
'1776' review: Musical at Ahmanson more like C-SPAN than 'Hamilton
Review: Although more like C-SPAN than 'Hamilton,' '1776' at Ahmanson is still a solid ride. Gisela Adisa stands before a projection of John Trumbull's painting "Declaration of ...
Michael Douglas' 'Franklin' Is an Exhausting Account of a Secret
The Boston Massacre of 1770, Paul Revere's midnight warning in 1775 and the signing of the Declaration of Independence in 1776 are often the main topics of conversation.
'Civil War' and Its Terrifying Premonition of American Collapse
Early in the movie Lee says, "Every time I survived a war zone and got the photo, I thought I was sending a warning home: Don't do this." "Civil War" works as a similar sort of warning.
'Civil War' review: Kirsten Dunst stars in a democracy doomsday film
Per movie convention, there's also an inexperienced young outsider: Jessie, an aspiring war photographer played by Cailee Spaeny, the star of last year's biopic Priscilla.Not long into their trip ...
'Blackout' review: Fessenden's werewolf film is smart horror
With his new film, set in sleepy upstate New York, Fessenden is in werewolf territory first prowled by Lon Chaney Jr. in 1941's "The Wolf Man" and expressed here as a beastly torment ...
'Don't Tell Mom' review: Smart remake has heart, vital signs
The hazards of remaking a beloved film are well known. While the 1991 comedy "Don't Tell Mom the Babysitter's Dead," starring Christina Applegate, didn't exactly thrill critics 33 years ...
Review
Early on in Garland's fourth movie, a bomb explodes in New York. In the eerie silence, a hard-bitten war photographer named Lee (Kirsten Dunst) dispassionately snaps photos of the fresh corpses.
Civil War movie review: How 19th-century Americans also imagined
The year is 1849. Martin Van Buren has just been sworn in for his fourth term as president. Every state from the Carolinas on south secedes from the Union. The U.S. Army occupies Richmond to keep ...

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I love 1776. It's my favorite musical. Great History lesson, funny, but still shows faults, showing that these people were humans too.

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Key Takeaways:

The movie 1776 was released in 1972.

It portrays the events around the signing of the Declaration of Independence.

The film was nominated for several Academy Awards.

William Daniels played the role of John Adams.

The movie includes musical numbers.

The film showcases the tensions and debates among the Founding Fathers.

The screenplay for the film was adapted from the Broadway musical.

The movie was not a commercial success.

The film highlights the struggles and sacrifices made by the American Revolutionaries.

The costumes in the film were historically accurate.

The movie was filmed in various locations in the United States.

The film’s budget was $4 million.

The character of Benjamin Franklin is portrayed with humor and wit.

The movie received mixed reviews from critics.

The song “Cool, Cool Considerate Men” was not in the original Broadway musical.